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THE AMERICANS 



THE AMERICANS 



By 



Edwin Davies Schoonmaker 



j» 




NEW YORK 
MITCHELL KENNERLEY 
1913 



COPYRIGHT 191 3 BY MITCHELL 5CENNERLEY 



1V 3 



PRESS OF J. J. LITTLE & IVES COMPANY, NEW YORK 



©CU346649 



To my Father and my Brother Frank 



Author's Note 

The drama here published is logically the third in 
a series of racial dramas, as follows: 

1. The Saxons 

2. The Slavs 

3. The Americans 

4. The Hindoos 

Of this series The Saxons, dealing with man's strug- 
gle for religious liberty, has already been published. 
For reasons that need not be given, it has been thought 
best to postpone The Slavs, which will present man's 
battle for political liberty, and offer The Americans, 
the theme of which is the industrial conflict that is 
now raging. The Hindoos, a drama of spiritual un- 
foldment, will come in its order. 



PERSONS OF THE DRAMA 



J. Donald Egerton Lumber king and mill-owner 
Augustus Jergens A partner 

Sam Williams Leader of the strikers 

General Chadbourne In command of the State 

Militia 
Captain Haskell Second in command 

Rev. Ezra Hardbrooke Bishop of the Diocese 

John W. Braddock Governor of the State 

Ralph Ardsley Editor of the Foreston Courier 



Chief of Police 
George Egerton 
Harry Egerton 
Harvey Anderson 

Buck Bentley 
Wes Dicey 
Jim King 
Rome Masters 
Cap Saunders 
Bill Patten 
Silas Maury 
Willie Maury 
Mary Egerton 
Gladys Egerton 
Sylvia Orr 



Cooperating with the Militia 

Son of Donald Egerton 

Son of Donald Egerton 

Former cowboy and Rough 

Rider 

One of the Militia 

A walking delegate 

Supporter of Dicey 

Supporter of Dicey 

An old miner 

Striker, off in search of work 

Striker, off in search of work 

Son of Silas Maury 

Wife of Donald Egerton 

Daughter of Donald Egerton 

Friend of Mrs. Egerton 



A chauffeur, a butler, a doctor, a nurse, two maids, 
two detectives, two sentries, strikers, strike-breakers, 
militiamen, guests at the reception, etc. 

9 



A land is not its timber but its people, 
And not its Art, my father, but its men. 

— Harry Egerton. 



io 



THE AMERICANS 

ACT I 

THE MINE 

Scene: On the mountains in a timber region of 
north-western America. In every direction, as far as 
the eye can see, a wilderness of stumps with piles of 
brush black with age and sinking from sheer rotten- 
ness into the ground. Here and there a dead pine 
stands up high against the horizon. In the distance, 
left, cleaving the range and extending on back under 
an horizon of cold gray clouds, is seen the line of a 
river of which this whole region is apparently the 
watershed, for everywhere the land slopes toward it. 
In the remote distance, beyond the river, innumerable 
bare buttes, and beyond these a gray stretch of plains. 
Down the mountains, left, six or seven miles away, 
the river loops in and a portion of a town is seen upon 
its banks. At this end of the town, upon a hill over- 
looking the river, a large white mansion conspicuous 
for the timber about it. At the farther end, a huge 
red saw-mill occupies the centre of a vast field of yel- 
low lumber piles, the tall black stack of the mill 
clearly outlined against the gray of the land beyond. 

Back, a hundred yards or so, a road, evidently con- 
structed years ago when the logs were being taken out, 
comes up on the fiats from the direction of the town, 

II 



The Americans 



turns sharply to the right and goes toward the ridge. 
Beyond this road, just at the curve, standing out 
among the stumps, an old stationary engine eaten up 
with rust and an abandoned logging-wagon, the hind 
part resting upon the ground, the two heavy wheels 
lying upon it. Farther back a small cabin falling into 
decay. Here and there patches of creeping vines and 
rank grass cover the ground, hiding in some places to 
a considerable depth the bases of the stumps. But to 
the left, where it is evident a steep slope plunges down, 
and also in the foreground, are open spaces with boul- 
ders and, scattered about under a thin loam of rotted 
needles and black cones, the outlines of a few flat 
stones. In the immediate foreground, left, a huge 
boulder, weighing possibly four or five tons, barely 
hangs upon the slope, ready at any moment, one would 
think, to slip and plunge down. 

Two men, Cap Saunders and Harvey Anderson, the 
latter down left, the former to the right and farther 
back, are sloivly coming forward. Each has a camp- 
ing outfit, a roll of blankets, etc., upon his back, and 
carries in his hands a plaster cast of what would seem 
to be a cross-section of a log. It is about two feet in 
diameter and three inches thick. As they come along 
they try the casts on the various stumps and carefully 
turn them about to see if they fit, then chip the stump 
with a hatchet to indicate that it has been tried. 

Time: The evening of a day early in November in 
the present time. 

12 



The Americans 



Harvey Anderson. 
And say two dollars profit on each log. 

Cap Saunders. 
That's low enough. 

Harvey Anderson. 

Suppose a man could walk 
Over the mountains with a great big sack 
And pick two silver dollars from each stump. 
It's forty miles to where the trees begin, 
And on each side the river eight or ten. 
Think what he'd have. 

Cap Saunders. 

He's made work for them, Harvey. 

Harvey Anderson. 

Have millions, wouldn't he? 

Cap Saunders. 

I suppose he would. 
But where would this land be? There'd be no 

homes. 
And what are forests for but to cut down? 

Harvey Anderson. 
You wouldn't hear him say, 'Now, Harvey, you 
Go in and get your sack full; I'll stay out'; 

13 



The Americans 



Or, 'Now it's your turn, Cap.' Not on your life. 
He'd walk his legs off, but he'd have them all. 
Or what's more likely, he'd let others walk, 
And send his wagons out and get the sacks 
And have them brought in to him. 

Cap Saunders. 

For myself 
I'd rather be out here though on the mountains 
Than live in his big mansion. 

Harvey Anderson. 

So would I. 
But that don't mean I'd rather tramp the flats 
Picking up dollars for some other man. 
And I suppose the mill-boys feel the same. 

Cap Saunders. 
A fellow has to do the best he can. 
If he can stake himself, then off, I say, 
And pan for his own self. That's been my way. 
Sometimes I've struck pay dirt and sometimes not. 
And then I'd go and dig for a month or two 
For the other boys until I'd got my stake 



Harvey Anderson. 

Here is another like the one back there; 
Goes half way round as clean as anything; 
And the bark seems the same; but on this side- 

14 



The Americans 



Cap Saunders. 

(Who has left his cast and is hurrying forward 
excitedly ) 
Hold her a minute! 

Harvey Anderson. 

No, it don't fit, Cap. 
The same old finger width it's always been. 
When the curve matches, then there's some damn 

knot; 
And when the knot's not there, it's something else. 
No, you can't stretch it. Now it's this side; see? 
'Twas best the way I had it. There you are. 
Might as well mark her. 

Cap Saunders. 

It's a close miss, sure. 
It's like the one I found upon the ridge 
Week before last. 

Harvey Anderson. 

The place where it don't match 
Is always on the side that you don't see 
Until your heart's jumped up. 
(Chips the stump) 



That ends the day. 



Cap Saunders. 

I think I'll work a while. 
(Starts back) 

15 



The Americans 



PIarvey Anderson. 
The sun's gone down. 

Cap Saunders. 

I haven't heard the whistle of the mill. 

Harvey Anderson. 
Nor like to. 

Cap Saunders. 

Ah! I keep forgetting that. 
When a man's heard her blow for years and years 
He can't be always thinking that she's stopped. 
I wonder how the strike is getting on. 

Harvey Anderson. 

As everything gets on that's Egerton's. 
He'll cut them down as he's cut down the trees. 
(Sits upon a stump and looks off up the valley, 
then turns and watches the old man busy with 
his cast) 

Harvey Anderson. 

Your old bones must be tired, Cap. 

Cap Saunders. 
How so ? 



16 



The Americans 



Harvey Anderson. 

How long have you been hunting for this thing? 

Cap Saunders,. 

Before this search, you mean? 

Harvey Anderson. 

Yes. 

Cap Saunders. 

Off and on, 
Thirty or forty years. 

Harvey Anderson. 
And won't give up? 

Cap Saunders. 
Not till I'm dead. 

Harvey Anderson. 

You ought to have been an ox. 
You've got the wrong form, Cap. You think 

you'd be 
As patient if the prize was for yourself? 

Cap Saunders. 

When one's been on a trail for years and years 
It ain't the game he cares for; it's the chase. 
And like as not when he's brought down the buck 

17 



The Americans 



He'll leave the carcass lying on the rocks, 
Taking a piece or two, then off again. 
As for what's done with it, I don't care that. 
But I would like to know where that tree stood. 

Harvey Anderson. 
And you think the boys down there should be the 

same, 
The boys that saw the dollars from the logs, 
Sacking the silver up, be satisfied 
To have him take the silver, leaving them 
The bark on either side? 

Cap Saunders, 
I don't say that. 

Harvey Anderson. 

Give me the carcass when you find it, Cap, 
And you can have the chase. I'd like to know 
For one time in my life just how it feels 
To have your pockets full and taste the towns. 
And I think the boys that saw the logs down there 
Are more like me, Cap, than they are like you. 
{Picks up his cast and comes forward) 

Cap Saunders. 

Egerton ain't a-holdin' them. They can go 
If they ain't satisfied. 

18 



The Americans 



Harvey Anderson. 

Yes, they can go. 
They're like the red men, they can always go. 

(In an open space in the foreground he puts his 
things down upon the ground. He goes right 
to a pile of brush, pulls out a black limb, and 
proceeds to break it across his knee, throwing 
the pieces in a little heap upon the ground) 

They've got a Mayor down there, I suppose. 
What if he said, 'If you don't like my way, 
If you ain't satisfied, there's the road off there?' 
Or say the lad we've got in Washington — 
What if he said, 'If you don't like my way, 
There's ships there in the harbor?' Think we'd 

leave ? 
You've had your eyes, Cap, on the ground so long 
That you've forgotten there's such things as men. 

(The old man comes down to the stump which 
he and Anderson tried earlier in the scene. An- 
derson picks up his kindling and goes left and 
proceeds to start a fire. The night gathers 
quickly ) 

Cap Saunders. 

(Trying the stump) 
Be careful, Harvey, or they'll see the flame 
And think it's found already. 

19 



The Americans 



Harvey Anderson. 

I don't care. 
'Twould serve them right. 

Cap Saunders. 

They're watching at this hour. 

Harvey Anderson. 

'Now we've got millions!' then say 'April Fool.' 
God, I don't blame them though; I'd do it too. 
{Picks up a blanket and, sticking pieces of brush 
in the ground, hangs it between the fire and the 
town) 

Cap Saunders. 

Aug. Jergens he'd be mighty mad, I tell you. 

Harvey Anderson. 

If I could put men out, you bet I would. 

And when I found the gold I'd make her fly. 

You wouldn't catch me quarrelling with a lot 

Of fellows for the bones, I tell you that. 

I'd take a rump or two, then say, 'Light in 

And fill your bellies'; or, 'Come on; I'm rich; 

Let's take a turn together.' And I'd buy 

A train or two and we'd all take a spin 

Around the world. I'd make their hair stand up. 

I'd show those eastern fellows once or twice. 

(Goes left and climbs up on the boulder and looks 
back over the waste) 
20 



The Americans 



Cap Saunders. 

(Coming forward) 
You'll have that rolling down if you don't mind. 

Harvey Anderson. 
And that's one reason I'll be always broke, 
For I know how to spend, while Egerton 
And Jergens and those fellows down there don't, 
In spite of their big houses. They know how 
To quarrel with men and squeeze their last dime 

out, 
But they don't know how to say, 'By God, come on ; 
Let's have a drink together; we're all friends.' 
(The old man busies himself about the fire, pre- 
paring the evening meal. Anderson sits down 
on the boulder and looks off up the valley. 
Where the town was seen, lights begin to ap- 
pear) 

Harvey Anderson. 

You'll wake up some day, Cap, and look about 
And Harvey will be gone. 

Cap Saunders. 

You don't mean that! 
You ain't took no offence at what I said? 

Harvey Anderson. 
Mad as the Devil, Cap. 

21 



The Americans 



Cap Saunders. 

Don't you know, Harvey, 
About the rolling stone? 

Harvey Anderson. 

There's some stones, Cap, 
Would rather have the motion than the moss. 

Cap Saunders. 

You're sure a wild one, Harvey; that you are. 
You'd stir a muss up, that's what you would do. 
{Goes to the boulder and stands beside Anderson, 
and they both look off up the valley) 

Harvey Anderson. 

The mansion all lit up — what's going on? 

{They are silent) 
It's a strange world, Cap, it's a funny world. 
You throw a piece of bread down ; it draws ants, 
Red ants and black ants, little ants and big, 
And if you'll keep it up you'll have them here 
Building their hills about you; you know that. 

Cap Saunders. 

{Returning to the fire) 
It's wonderful how much some men can do. 

Harvey Anderson. 

Well, men are ants, and Egerton he's had bread. 
And he's kept throwing it down there in the valley, 

22 



The Americans 



First crumb by crumb and later chunk by chunk, 
Until he's drawn them round him, thousands of 

them, 
And when they've come he's put them all to work. 
And to see them at it ! I could spend my life 
Sitting upon the mountains on some rock 
That hangs above the town, watching them drudge. 
'Get me my logs out ;' and they get his logs. 
'Now saw them; make me lumber;' and they do it, 
'Build me my railroad ;' and they blast the rocks. 
'Now up with my big mansion on the hill, 
And carve me all my ants upon the walls, 
Some sawing logs, others with axes raised 
Hard at the big round boles, some half cut down ; 
Make her look like a forest through and through.' 
And they've tugged at it till they've got it done. 
And all they've chopped and sawed and built is his, 
And he puts it in his pocket and sits down 
And they can't help themselves. They've got to 
eat, 

And Egerton he's the man that's 

{He has risen and stands looking back through 
the darkness) 

Cap Saunders. 

What do you say, 
Harvey, let's spend the night back in the cabin. 
It ain't the cold I mind, but from the air 
I wouldn't be surprised if it would snow. 

23 



The Americans 



Harvey Anderson. 
By God, Cap! 

Cap Saunders. 
Eh? 

Harvey Anderson. 

Looks like the boys had found it. 

Cap Saunders. 
You don't, don't say I 
{Goes to the boulder) 

Harvey Anderson. 

Off there, beyond the knob. 

{Bill Patten comes through the darkness, rear 
right. He looks about, then spies the men) 

Bill Patten. 

You got some grub that you can spare, boys? 

{Goes near the men and gets their line of vision) 

That? 
It's the moon rising. 

Cap Saunders. 
Ah, I'm glad, I'm glad! 

Harvey Anderson. 

Against the sky it looked like some far fire. 
{Gets down from the boulder) 

24 



The Americans 



Bill Patten. 

You're of the force that's huntin' for the mine? 

Harvey Anderson. 

That's 'hunting' for it, yes. 

Bill Patten. 
You'll find it. 

Harvey Anderson. 

Why? 

Bill Patten. 
Egerton's luck. 
{Calls back) 
O Silas! 

{To Anderson) 

'Tain't no use 
A-fightin' that old wolf or 'spectin' God 
To put his hand between J. D. and gold. 
He's got a devil that takes care of him. 

{Silas Maury and his son Willie, a boy of twelve 
or thirteen, enter rear) 

Bill Patten. 

And the same devil blacks Aug. Jergens' boots. 
I'd like to get that man in some lone spot. 

{They sit down. The workmen seize food and 
eat ravenously) 

25 



The Americans 



Harvey Anderson. 
Mill-hands? 

{Patten nods) 
How's the strike? 

Bill Patten. 

I ain't a man 
To show the white while there's a chance to win. 

Silas Maury. 

They've got till sun-down to report for work. 

Bill Patten. 

They'll feel like dogs, too, goin' in that gate, 
After the bluff they've made, lickin' his hand. 
Me for some other town. I'd rather starve. 

Silas Maury. 

They're 'ranging to bring in a lot of scabs 
To-morrow, when the Governor will be there. 

Bill Patten. 

Much as to say, 'Now knock 'em!' Son of a bitch! 

Harvey Anderson. 
The Governor? 

Cap Saunders. 

What's the trouble? 

26 



The Americans 



Bill Patten. 
Cakes and pies. 

Silas Maury. 

It's Egerton's big reception. 

Harvey Anderson. 

(To Cap Saunders) 

Explains the lights. 
They're getting things in shape. 

Silas Maury. 
Yes. 

(He and Anderson walk a little way left and 
look back toward the mansion) 

Bill Patten. 

When the boys 
First talked of strikin' when they made the cut 
I said, 'Don't do it. Egerton's a man — 
You'd better fight the Devil than fight him. 
He'll show no mercy on you if you cross him.' 
I guess they know by now that Bill was right. 
Sam Williams though he thinks he knows. 

'Hang on.' 
All right, hang on; but you will see what comes. 
It's hell. I'd rather die out on some rock. 

Silas Maury. 

There ain't no room for poor men in this world. 

27 



The Americans 



I don't know what God ever made us for. 
(He and Anderson return to the fire) 

Bill Patten. 

The man that's got no home's a lucky man. 

Silas Maury. 

I said to Willie, 'I'm glad mother's dead.' 
(A pause) 

Willie Maury. 

Think she can see us, pa? 

Silas Maury. 
I don't think so. 

Bill Patten. 
She's better off. 

Silas Maury. 

That's true. I hope she can't. 
She died a-thinkin' Willie would be rich 
Some day, if they ever found the mine. 

Bill Patten. 
(Bitterly) 
Give 'em your apples and expect the core. 

Silas Maury. 

It came so quick, though, Bill; he didn't think. 

28 



The Americans 



Bill Patten. 

If he had just kept still and called to Chris 
And had him help and roll the log aside 
And then at night let some of us men know, 
We could have slipped it out and hidden it, 
And gone to Egerton and said, 'See here, 
We've found the log that you've been lookin' for 
These years and haven't found it ' 



Cap Saunders, 
You don't mean- 



Bill Patten. 

'And if you'll do the square thing we'll cough up ; 
If not, we'll go and find the mine ourselves.' 

Cap Saunders. 

You don't mean 'twas the boy that found the log! 

Silas Maury. 

Willie here found it. 

Cap Saunders. 

Well, well, well! H-u-rrah! 
Hurrah, I say! 

(Throws his hat into the air. Harry Egerton 
comes through the darkness rear right) 

Cap Saunders. 

If I could call the men, 
Call up the men, my son, who've spent their lives 

29 



The Americans 



Tryin' to get a peep of that there trunk — 
You hear that, boys, you up there in the air? 

Bill Patten. 

He'd come to terms, all right, you bet your life. 

Harry Egerton. 

Good evening, men. I'm turned around a bit, 
Or seem to be. Just where is Foreston? 

Harvey Anderson. 

You see those lights down there? 

{He walks back, left. Harry Egerton joins him, 
going across rear) 

Harry Egerton. 

That's east? 

Harvey Anderson. 
Correct. 

Harry Egerton. 

And how far am I from it? 

Harvey Anderson. 
About six miles. 

Harry Egerton. 

From Foreston, I mean? 

30 



The Americans 



Harvey Anderson. 
Six miles or more. 

Harry Egerton. 
So far! 

(He walks back a little way, then stops and looks 
off up the valley. Harvey Anderson comes for- 
ward and begins to break some brush to replen- 
ish the fire) 

Cap Saunders. 

Who is it, Harvey? 

Harvey Anderson. 
I don't know. 

Cap Saunders. 

And it had the sign cut in the bark, eh? 

Silas Maury. 
Yes. 

Willie Maury. 

Two X's and a spade. 

Cap Saunders. 

That's it, that's it! 
'Two X's and a spade, then dig nine feet.' 
There's two bits, son. How did it happen, dad? 

3i 



The Americans 



Silas Maury. 

It came up into the mill with the other logs, 
Lookin' just like 'em, but Willie spied the sign — 

Willie Maury. 

Just as it was goin' into the saws. 

Silas Maury. 

And shouted to Chris Knudson. Chris shut down; 
There was a crowd; and then Aug. Jergens come 
And had it hauled away. 

Cap Saunders. 

If you and me 
Had been out here, son, when all these were trees 
And you'd a-spied that sign, I tell you what, 
I'd hung some nuggets round this little neck. 

Harvey Anderson. 

You'd better wait until the moon comes out. 
It's a rough road back there. 

Harry Egerton. 
There is a road? 

Harvey Anderson. 
A logging road. 

32 



The Americans 



Harry Egerton. 

{Coming forward, notices the casts upon the 
ground) 
You're searching for the mine? 

Harvey Anderson. 

Cap and I here. These men are from the mill. 

Harry Egerton. 
(With interest) 
From the mill down in Foreston, you mean? 

Harvey Anderson. 

Leaving in search of work. 

Harry Egerton. 

Are things so bad 
Down at the mill, my friends, that you must leave? 
Are others leaving? Have the men gone back? 
(The men glare at him) 

Cap Saunders. 

They'll have to soon, they say ; their grub's give out. 

Harvey Anderson. 

The Company has given them till to-morrow night 
To come to work or be shut out for good. 

33 



The Americans 



Harry Egerton. 

Have they brought in more men? 

Harvey Anderson. 
They're arranging to. 

Harry Egerton. 

I do not see, friends, what you hope to gain 

By leaving Foreston and wandering off 

In search of work. In the first place I know, 

As you perhaps do not, that Egerton 

Has given orders to the neighboring plants 

To take on no more men until this strike 

Is settled, till it's won. And, as you know, 

For forty miles around the mills are his, 

The camps are his. And where his power ends, 

Others begin that work in harmony 

With Egerton and Company. They are one, 

And have an understanding in some things 

Far more than you suspect. 

{Patten and Maury rise and walk aside and 
whisper together) 

And they all know 
Whatever be the outcome of this strike 
The effect of it will reach them all at last. 
If you men win, mill-workers everywhere 
Will take new heart and stand for better things. 
But if the Company wins, others will say — 
And with no little weight — 'We cannot pay 

34 



The Americans 



The present scale of wages and compete 

With Egerton and Company.' So it will go 

Until the farthest mill in all this land 

Puts in its hand and takes a ten per cent 

Out of the wages of its workingmen. 

And there's no power on earth that can prevent it. 

{Willie Maury rises and joins his father and 
Patten ) 

But even were this not true, were places open, 
The same conditions would confront you there 
As now confront you here. At any time 
Those who employ you have you in their power 
And can reduce your wages when they choose, 
Lay on you what conditions they see fit, 
And you must either yield or be turned forth 
To wander on again. I do not know 
Whether you men have families or not, 
But others have, and their cause is your own. 
You cannot wander on for evermore, 
Picking up here and there a chance day's work 
And hoping that to-morrow things will change, 
For changes do not come except through men. 

{The men return to the fire) 

And so I do not see just what it is 
You hope to gain by leaving Foreston. 
You cannot spend your lives on highways, friends. 
Where will you go ? Have you some place in mind ? 

35 



The Americans 



Bill Patten. 

It's none of your damn business where we go. 
We don't wear no man's collar. 

Silas Maury. 
Bill is right. 

Bill Patten. 

Nor Egerton's, nor no man's on this earth. 

Harry Egerton. 

I beg your pardon, friends, I did not mean 



Bill Patten. 

We're twenty-one years old and we're free men. 

Harry Egerton. 

I did not mean you had no right to go. 
You have. 

Bill Patten. 
You bet we have. 

Silas Maury. 

You can't get men 
And want to scare us back, that's what you want, 
Talkin' as how the mills will shut us out. 

Harry Egerton. 

I have no wish to scare you back, my friend. 

36 



The Americans 



Bill Patten. 

Then what's your proposition? 

Harry Egerton. 
I have none. 

Bill Patten. 

Come up to shake hands, eh, and say, Good-bye? 

Harry Egerton. 

I chanced upon you here. 

Bill Patten. 

'Chanced' hell! We know. 

Silas Maury. 

If it's my rent you're after, if it's that, 

I think you might at least let that much go 

For what my boy did, findin' of the log. 

Harry Egerton. 

Friends, you misunderstand me if you think 
That I am here to speak for any man, 
Or round you up, or lift one hand to stay 
Your coming or your going. You are free 
And can do what you please. 

Bill Patten. 

You bet we can, 
For all your bayonets. 

37 



The Americans 



Harry Egerton. 
My bayonets? 

Bill Patten. 

Yes. 

Silas Maury. 

Think we don't know you, eh? 

Harry Egerton. 

I do not know, 
I do not know what I can say to you. 
I understand just how you 

Silas Maury. 

{Plucks him by the sleeve and points off up the 
valley ) 

There's your home, 
Off there in that big mansion on the hill. 
Go there and live your life; you're none of us. 

Harry Egerton. 

My father is my father; I am I. 

( The men prepare to leave. Cap Saunders rises 
and begins to pack up the things) 

Harry Egerton. 

We do not choose the gates through which we come 
Into this world, my friends. Nor you nor I 

38 



The Americans 



Selected who should cradle us nor what home 
Should give us shelter. 'Tis what we do that 

counts, 
Not whence we come. Do not misjudge me, friends. 
Because I am a son of Egerton 
Deny me not the right to be a man. 

Silas Maury. 
You wear our sweat in your fine clothes all right. 

Harry Egerton. 

I wear, my friend, what my own hands have earned. 
Where will you go? 



Silas Maury. 

We'll go where we can find- 



Bill Patten. 

Don't tell him, Si. Don't you see through his 

game? 
Keeps askin' where we're goin'. Don't you see? 
He's a spy of the Company. 

Harry Egerton. 

Ah, you do not know 
Why I am here. God knows I did not come 



Willie Maury. 

Thought we wouldn't know him. 

39 



The Americans 



Silas Maury. 

Poor men are fools. 

Willie Maury. 

He's been 
Doggin' our footsteps. 

Bill Patten. 

You've been followin' us 
To find out where 

Cap Saunders, 
Don't quarrel, men. 

Bill Patten. 

It's a good thing 
Your old man crushed me till I pawned my gun, 
Or, God, I'd kill you. Do you understand? 

Harvey Anderson. 
Hold on there, pard. 

Bill Patten. 

So he could have the mills 
Blacklist us. Curse you ! And curse all your kind ! 
You've ground us down until we're dogs, damn you. 

Silas Maury. 

Come sneakin' round to - 



. 40 



The Americans 



Harry Egerton. 

Friend, I did not come 
To spy on any man or seek you out 
Here on the mountains. For my hope has been- 



Bill Patten. 

We'll blow you up some day, you mark my word. 

Harry Egerton. 

That never one of you would leave the ranks 
In your great struggle in the valley there, 
But that you would stand fast, and somehow win 
In spite of everything, starvation, death. 
And I have done all that I could to help you. 
But you, my friends, O you must understand, 
As there are some things that you cannot do, 
So there are things I cannot. 

Cap Saunders, 
Get the pot. 

(The boy picks up the coffee pot) 

Harry Egerton. 

How I came here I do not know myself. 
Some Power has led me though I know not why. 
I half remember that I could not sleep 
For voices round me in my father's hall, 
And rose and wandered forth, fleeing from some- 
thing 

41 



The Americans 



That seemed to follow me across the waste, 
A sighing and a thundering of men. 
All day, it seems, I've wandered over the moun- 
tains 
And all last night. Then from afar I spied 
Your fire here and came to learn my way. 

Silas Maury. 

Your way lies that way and our way lies this. 

{Patten, Maury, Cap Saunders and the boy go 
off through the darkness, right rear) 

Harvey Anderson. 

You must be hungry, pard. 

Harry Egerton. 

No, thank you, no, 
Nothing to eat. 

Harvey Anderson. 

'Tain't much, but what it is 
You're welcome to it. 

Harry Egerton. 

{Calling after the men) 

And you will go away 
And leave this great cause hanging in mid air? 

Voice of Silas Maury. 

Tend to your business and we'll tend to ours. 

42 



The Americans 



Harvey Anderson. 

Don't mind them; they're damn fools. 

Harry Egerton. 

You understand 
What I have tried to say unto these men; 
You understand, I know. 

Harvey Anderson. 
I think I do. 

Harry Egerton. 

And something tells me we shall meet again. 

Harvey Anderson. 
Who knows? I'm tramping round, to-day one 

place, 
To-morrow another. I'm a rolling stone. 
I never have been one to keep the trails. 
Just knock about the States and watch the plains 
For something — I don't know — and yet 'twill come, 
And when she comes she'll shake her good and hard. 
I don't know what you're rolling in your mind, 
But, as you say, it's a great land we've got. 
I like to lie and feel her under my back 
And know she tumbles to the double seas 
Up to her hips in mile on mile of wheat. 
Beyond that moon are cities packed with men 
That overflow. The fields are filling up. 

They're climbing up the mountains of the West- 

43 



The Americans 



Harry Egerton. 

{Looking after the men) 
And going on beyond them. 

Harvey Anderson. 

It's all right. 
They'll reach the coast off there or reach the ice, 
And then they'll have to turn or jump on off. 
And they won't jump off. It's too fine a land. 
Men throw away the hoofs but not the haunch. 
I sometimes see them in the dead of night 
Crawling like ants along her big broad back, 
With axe and pick and plow, building their hills 
And pushing on and on. It's a great land. 
And bread tastes good that's eaten in her air. 
And there's enough for all here 

Harry Egerton. 
Yes, ah, yes! 

Harvey Anderson. 

If we could just turn something upside down. 
I don't know what you've heard along the waste, 
But when you think it's time to ring a change, 
And when you draft your men and call the roll, 
Write Harvey Anderson up near the top. 
And here's my hand, pard. You can count on me. 

Harry Egerton. 
We'll meet again. 

44 



The Americans 



Harvey Anderson. 

Hope so. I like your face, 
And like the way you talk. Good-night. 

Harry Egerton. 
Good-night. 

(Harvey Anderson takes up his pack and cast 
and goes off through the darkness after the 
other men. For a long time Harry Egerton 
stands looking after him. The fire has burned 
low) 

Harry Egerton. 

Not that, not that ! And yet I know 'twill come. 
My God ! my God ! Is there no way, no way ? 

(Walks left and looks off up the valley) 

My father ! O my father ! 

(He breaks out crying and, staggering about, falls 
first upon his knees, then face forward upon 
the ground. Instantly it becomes pitch dark) 



THE DREAM VISION 

(During the following, a shaft of light, falling 
upon Harry Egerton, shows him lying near the 
boulder. As he cries out, he partially rises, his 
form and face convulsed with anguish) 
45 



The Americans 



First Voice. 

(From up the mountain, full of pleasure) 
Harry! Harry! Come to the heights! 

Second Voice. 

(From the valley, full of sorrow) 
Harry! Harry! Come to the valley! 

Third Voice. 

(From far back, full of peace) 
Harry! Harry! plunge into the darkness, 
The abysses and the waterfalls and silence! 

The Three Voices. 
(In chorus) 
We are Realities ! We are Realities ! 

Voice. 

(From above) 
One life to live! 

First Voice. 

Come to me, Harry! 

Second and Third Voices. 
She will grow old. 

Voice. 

(From above) 
One life to live! 

46 



The Americans 



Seco,nd Voice. 

Come to me, Harry! 

First and Third Voices. 

You cannot help them; you've no power. 

Voice. 

{From above) 
One life to live! 

Third Voice. 

Come to me, Harry! 

First Voice. 

(Gayly) 

Fool! fool! 

Second Voice. 

You cannot die ; there is no death. 

Voice. 

{From above) 
Decide ! 

Harry Egerton. 
My God! 

Voice. 

{From above) 
Decide ! 

47 



The Americans 



Harry Egerton". 
My God! 

Voice. 

(As of a drunkard singing) 
If you was in the gutter, Bill, 
And I was on the roof 

Voices. 

You're going mad! You're going mad! 

Harry Egerton. 
Mother! mother! 

(Presently, about twenty feet up in the rear and 
on either side, faint lights begin to appear and 
faint sounds of music are heard. Gradually 
the lights brighten a little and the sounds of 
music become more and more audible until one 
becomes conscious that on the left an orchestra 
is playing and to the right a piano. One also 
becomes conscious of a vast and beautiful hall 
over the floor of which, as the music plays, the 
forms of dancers are gliding. Occasionally 
from here and there -flashes a sparkle as of dia- 
monds, and low rippling laughter is heard. In 
the foreground for a space of twelve or fifteen 
feet, cut off from the main hall by the faintest 
outlines of an immense arch, small groups of 
elderly people stand about watching the dan- 

48 



The Americans 



cers, or saunter right and left into the adjoin- 
ing apartments. In these apartments also peo- 
ple are seen moving about, and there is a hum 
of voices as of men and women in conversation. 
At no time does it become very light, and all 
that passes seems to pass in a dim shadow 
world. 

It is sufficiently light, however, to enable one 
to discern the grotesque richness of the hall 
which, as one sees at a glance, is an elaborate 
representation of a pine forest, the boles of the 
trees standing out in beautiful irregularity 
along the walls, the boughs above in the semi- 
darkness seeming to disappear in some sort of 
cathedral roof. There, all about, singly and in 
clusters, innumerable small globes as though 
the cones were illuminated. Between the trees, 
also in relief and life-sized, figures of men at 
work getting out timber. Forward right, 
teams dragging logs, and, on the opposite wall, 
a distant view of a river with rafts floating 
down. Standing on stumps, huge figures sup- 
port the arched doorways, of which there is one 
in the rear wall right, and one centre in each of 
the side walls. Left rear, the grand staircase 
with the glow of some hidden lamp shining 
upon the landing. Here the carved scene upon 
the wall is that of an inclined trestle-work, with 
logs going up apparently into some mill above. 
49 



The Americans 



Beloiv, crouched upon the newel-post and the 
lower rail, the carved figure of a large moun- 
tain lion with a frosted light in its open mouth. 
Forward from the arched doorway, left, there 
is no wall from about four feet up, and through 
this open space, faintly illumined by small hid- 
den lamps, a greenness as of palms and flowers. 
The music ceases and the couples break up. 
Later, the piano begins again, and just inside 
the main hall Gladys Egerton, in low decollete 
and holding her skirts above her ankles, appears 
dancing ravishingly to the music of the piano) 

First Lady. 

Isn't she charming! 

Second Lady. 

And that's George that's playing. 

{Holding her skirts high the girl executes a grace- 
ful high kick and there is a clapping of hands) 

Men's Voices. 

Bravo! bravo! Once more like that, my kitten! 

Third Lady. 

Dear, you may have my Chester! 
{Laughter) 

Fourth Lady. 

You dance superbly. 

50 



The Americans 



Gladys Egerton. 

I'll take your husband. 
{Continues dancing) 

Mrs. Egerton. 

Why, Gladys Egerton! 

A Man's Voice. 

Just any time you want him, Gladys. 

Gladys Egerton. 
All right. 

A Man. 

{Appearing forward right) 
Ladies, the Governor is telling stories. 
Out of politeness let's give him a crowd. 

{Some of the ladies start right, others begin to 
move about) 

Fifth Lady. 

She'd make a good catch. 

Sixth Lady. 

Either she or George would. 

Third Lady. 

{Calling aloud) 
Here is another! Now there are thirteen of us. 
{Laughter) 

51 



The Americans 



Fourth Lady. 

There you're on my toes. Marjorie's after George. 



Sixth Lady. 

Your Marge, my dear- 



(Glances in the direction of Mrs. Egerton, then 
whispers) 

Your Marge may have the other. 

Fourth Lady. 

Thank you, dear Mrs. Casper, we'll have — gander. 
{Laughter. They go out right) 

Seventh Lady. 

To have a son like that! 

Eighth Lady. 
Yes, what a pity. 

Ninth Lady. 

He hasn't anything like the grace of George. 

Seventh Lady. 

Nor the accomplishments. 

Eighth Lady. 
Nor the education. 

Seventh Lady. 

He belongs down in the mill among the men. 

52 



The Americans 



Eighth Lady. 

One would have thought, though, at the first recep- 
tion — 
If only for his mother's sake. 

Seventh Lady. 
That's true. 

Ninth Lady. 

How old she looks to-night. 

Gladys Egerton. 

{Who has been skipping to the music, whirls in 
from the main hall) 
Mother is old. 

Ninth Lady. 

I did not mean for you to overhear that. 

Gladys Egerton. 

O that's all right. We always do that way. 

{Continues dancing) 
If you had on your heart what mother has 
You'd look old, too. 

Eighth Lady. 

What did she mean by that? 

53 



The Americans 



Gladys Egerton. 

Leave us alone here just a little while. 
(The women go out right) 

Gladys Egerton. 
Mother! 

Mrs. Egerton. 

Yes, darling. 

Gladys Egerton. 

Mother, where is Harry? 
(Dances) 

Mrs. Egerton. 
I do not know. 

Gladys Egerton. 

It's very embarrassing. 
People are whispering. Mother, has no word come? 

Mrs. Egerton. 

Have you asked your father? 

Gladys Egerton. 
Yes. 

(Dances) 

Mother, I'm sure 
Something has happened to him. 

54 



The Americans 



Mrs. Egerton. 

Don't, my child, 
Don't say that. 

Gladys Egerton. 
(Mysteriously) 

Why? 

Mrs. Egerton. 

Go, child ; people are watching us. 

Gladys Egerton. 

/ know why! / know why! 
(Dances) 

Let go ! let go ! 

Mrs. Egerton. 

And please tell Donald that I'm waiting for him. 

Gladys Egerton. 

You're going after flowers, mother; / know. 

Mrs. Egerton. 

Flowers, my child? What for? 

Gladys Egerton. 
For Harry's grave. 

Mrs. Egerton. 

Why Gladys, Gladys Egerton! 

55 



The Americans 



Gladys Egerton. 

{Whirling back into the main hall) 

I know. 

(She disappears into the conservatory, left. 
Alone, Mrs. Egerton stands a pathetic figure. 
She walks back into the deserted hall and stops 
and listens as though to the upper part of the 
walls. She then turns slowly and comes for- 
ward again. George Egerton enters quickly 
from the conservatory) 

George Egerton. 
Mother! 

Mrs. Egerton. 
Yes, George. 

George Egerton. 

This is disgraceful, mother. 

Mrs. Egerton. 

I cannot help it, George. 

George Egerton. 
Where did he go ? 

Mrs. Egerton. 

I've told you, George. Now please don't bother me. 

56 



The Americans 



George Egerton. 
People are whispering. 

Mrs. Egerton. 
But what can I do? 

George Egerton. 

Call to them that he's up in bed with fever, 
Or say that he was brought home from the river 
drowned. 

Mrs, Egerton. 

{Calling aloud) 
It's none of your business, people ! Harry's my son. 

(She comes forward) 

George Egerton. 

That wasn't what I said. You are just like him. 

(He turns back and re-enters the conservatory. 
Mrs. Egerton passes into the room forward 
right. The lights in the hall become dimmer) 

Voices. 

(From the walls) 
Sam! Sam! Sam! 

(There is a silence, then a sigh as of innumerable 
voices, then a silence and another sigh and still 
another) 

57 



The Americans 



Harry Egerton. 

My father! O my father! 

(From the conservatory comes a sound of laugh- 
ter, and a beautiful girl runs in. A moment 
later the bloom of a large white chrysanthe- 
mum is thrown in after her. A young man 
enters. Other couples come in. George Eger- 
ton, evidently master of ceremonies, moves 
about here and there. A tuning of instruments 
is heard. People come from the side rooms. 
When all is in readiness, while the dancers, 
who have taken their positions, stand waiting 
for the music to begin, the sighing is again 
heard) 

George Egerton. 

(Exasperated by the delay) 
What's the matter there, Melazzini? 

(Excusing himself to his partner, he goes toward 
the conservatory, where the orchestra is sta- 
tioned. As the sigh is repeated the couples 
gather together. At the third sigh they scatter, 
some of them running out through the jniddle 
door right, others hurrying forward, one or 
two of the girls laughing hysterically) 

George Egerton. 

It's just the wind that's blowing through some- 
where. 

58 



The Americans 



(The people disappear into the apartment right. 
Charles, the butler, and tvjo maids, badly 
frightened, come in rear) 

George Egerton. 

Close that door, Charles. 

Charles. 

There's no door open, sir. 

(The four come forward, the butler and maids 
briskly, George Egerton more slowly and with 
a sort of defiance. They, too, pass out right) 



Voices. 

(From the walls) 
Sam ! Sam ! Sam ! 

(The sighs are repeated) 



* 
Harry Egerton. 

My father! O my father! 

(The mountain lion upon the newel-post spits the 

light from his mouth and it breaks upon the 

floor. The monster then gets down) 

Lion. 
Chris ! 

A Voice. 
Yes. 

59 



The Americans 



Lion. 
Mike! 

A Voice. 
Here. 

Lion. 

Wes Dicey! 

A Voice. 
Sure. 

Harry Egerton. 

{As though a roll were being called) 
Harvey Anderson! 

Lion. 

Whose voice was that ? 

A Voice. 

Who's Harvey Anderson? 

Second Voice. 

There's some spy here. 

Lion. 

Come down, comrades! 

60 



The Americans 



Voices. 

(Above) 

We're fast! we're fast! 
Nails in our hands and feet! 

Third Voice. 
Who's that? 

Voices. 

(Below) 
They've danced upon my face! And mine! 
And mine! And mine! And mine! And mine! 

A Voice. 

I've been a door-jamb years and years! 

Voices. 

(From round the walls) 
We've held these arches up for ages! 

Voices. 

(From far below) 
We're the foundations! Help us, comrades! 
Down on the rock here — deeper! deeper! 

Voices. 

Help us, Sam Williams! Help us, Sam Williams! 

Lion. 

Come down, comrades! 

61 



The Americans 



Voices. 

(From far away) 

We're the windows! 
They made us sand, then made us shine! 
We've touched their faces and their hair! 

Voices. 

(From up the stairs) 
We're coming, and there's thousands of us! 

Voices. 

(Far up) 
We're holding up the roof ! 

Lion. 

Come down ! 
You've held her up too long already! 

(There has been a pounding of hammers and a 
creaking as of timbers being loosened. Sighs 
and groans fill the hall. The lights burn un- 
steadily, flashing or going out or glowing with 
a tint of blue) 

Voices. 

Help us, Sam Williams! Help us! Help us! 

Other Voices. 

Let 'em alone! They're scabs! They're scabs! 
(Carven figures, still rigid, come from the walls. 
From everywhere they come, in the most fan- 
62 



The Americans 



tasiic postures, some hopping with one leg 
lifted, some gliding with raised axes, others 
bent and in pairs carrying cross-cut saws, still 
others with peavies in their hands. Up through 
the floor all round come dark figures with 
torches in their caps. Stealthily and with 
muffled voices they gather about the Lion. 
Suddenly the pounding ceases and all is still) 

A Voice. 

He's coming, and the Powers are with him! 

Second Voice. 

Justice is all we want ! 

Several Voices. 
Right! Right! 

Lion. 

Are we one, comrades? 

All. 

We're one! We're one! 

A Voice. 

Ask him to release us, Sam! 

{Donald Egerton, with Governor Braddock and 
Bishop Hardbrooke at his heels, comes hur- 
riedly through the centre door right) 

63 



The Americans 



Donald Egerton. 

{Peering about, sees the Figures) 
What does this mean? Back to the walls! 

Lion. 

We are the walls! 

Figures. 

We are the walls! 

Donald Egerton. 

I made you what you are! 

Lion. 

That's true! 
And we made you! 

Figures. 
And we made you! 

Lion. 

We made each other! 

You are our father and we your mother! 

Figures. 

That's true! That's true! 

Lion. 

And now make us as we made you! 

64 



The Americans 



Governor Braddock. 

Be careful, Colonel Egerton. 

See that one there with axe uplifted! 

Donald Egerton. 

Braddock, as a citizen of this commonwealth 
I call upon you to enforce the laws! 

Governor Braddock. 

My friends and fellow citizens, 
This is unwise, this course you are pursuing, 
And cannot in the end but injure you. 
The laws were made for these disputes, 
And you like others must obey. 

Lion. 

He made the laws! 

Figures. 

He made the laws! 

Donald Egerton. 

Hear that, Braddock! This is anarchy! 

Governor Braddock. 

I urge you to go peaceably to your homes! 

Lion. 

Our homes? 

65 



The Americans 



Figures. 

What homes ? 

Lion. 

We have no homes! 

(Egerton says something to the Governor) 

Governor Braddock. 
Then by the 

Bishop Hardbrooke. 

One moment, brother Egerton; 
One moment, Governor; let me say a word. 

(Steps toward the Figures) 
My brothers, 

If hunger hath driven you here, then know I speak 
For one whose self was hungry, Jesus Christ ; 
Yet was he meek and lamb-like. Why do you not 
Go to those places that have been prepared 
By charitable, Christian men and women 
For this very purpose, to relieve distress? 
If you are worthy you will there be fed. 

Figures. 

Whited sepulchre! He's a whited sepulchre! 
(They advance toward him) 

Bishop Hardbrooke. 

How dare you, armed with Labor's sacred tools 

66 



The Americans 



Which our Lord's father sanctified when he 

Wrought at his wood in Nazareth, how dare you, 

With envy in your hearts, on murder bent, 

Intrude upon the quiet social hour 

Of honorable, law-abiding men ? 

God sees you with your axes lifted there. 

And though you fear not law nor anything 

Of man, fear God, for he hath power 

And he can reach you in the uttermost 

Parts of the earth or air, as David saith. 

Figures. 

The rich man's friend! The rich man's friend! 

Governor Braddock. 

Then by the power vested in me 



Figures. 
We are the power! We are the power! 

Governor Braddock. 

As Governor of this commonwealth 
I will call out the military! 

Figures. 

We are the military! We are the military! 

Governor Braddock. 
{Calls) 
General Chadbourne! 

6 7 



The Americans 



People. 

{Who have been peering in forward right) 
Chadbourne ! Chadbourne ! 

(Egerton and the Bishop follow the Governor out 
centre right, and the people disappear) 

Figures. 

{Aloud) 
Release, release us from this spell ! 

Lion. 

Release yourselves! 

Figures. 

{With tremendous surprise) 
We can! We can! 

{There are shouts and a thunder of tools falling 
upon the floor) 

Shouts. 

We're free! We're free! 

Other Shouts. 

And seize the throats that nailed us fast! 

Harry Egerton. 

Forget the past! Forget the past! 

Shouts. 
An enemy ! He's an enemy ! 

68 



The Americans 



Harry Egerton. 

Release your brothers! 

Shouts. 

To hell with the scabs! 

{They rush through the house, right) 

Voice of Donald Egerton. 
Fire on them! 

Voice of Mrs. Egerton. 

No, no, Donald! Shed no blood! 
Think of their children! 

Voice of Donald Egerton. 
Fire, I say ! 

Men's Voices. 

We are your fathers and your brothers! 

A Deep Voice. 
Fire! 

{A pause) 

Cries. 

Treason ! Treason ! 

6 9 



The Americans 



The Deep Voice. 
Shoot them down! 

(Shots are heard and noises as of a riot) 

Harry Egerton. 
My God! My God! 

(The noises die away. In the darkness the walls 
are heard sighing) 

Harry Egerton. 

My father ! O my father ! 
(A pause) 

yoiCE. 

(Forward right, in the darkness) 
It's mine! 

Second Voice. 
It's mine! 

First Voice. 

Let go that hand! 

Second Voice. 
I had it first ! 

First Voice. 

Hain't you the rubies? 

(Sounds of quarrelling here and there) 

7 



The Americans 



Third Voice. 

{Centre right) 
Shut up your mouths! You'll have the police here! 

Voices. 

{From the walls) 
Brothers, help! We're fast! We're fast! 

Fourth Voice. 

Pick up the rug, Pete! Let's be off! 

{Forms of men loaded with the spoil of the man~ 
sion are seen hurrying out left) 

Voices. 

{Entering right) 
'Tain't fair! 'Tain't fair! 

Fifth Voice. 
(Left) 

Make for the river! 

Sixth Voice. 

Sam, this ain't fair! 

Sam. 

(Entering right) 
Hold on there, comrades! 

71 



The Americans 



Voices. 

Some's got it all and some ain't none! 

Sam. 

Put down that stuff! 

Cries. 

That's right! That's right! 
An equal divvy! An equal divvy! 

Other Cries. 

No, no, you don't! That's mine! That's ours! 

Sam. 

Comrades, we're one! 

Cries,. 

{Of those who have nothing) 
We're one! We're one! 

Other Cries. 

{Of those with their arms full) 
Every man for himself! Every man for himself! 

{Sounds of scuffling and fighting) 

Cries, 

Let loose, God damn you ! Knock him down ! 

{The sounds die away left) 

72 



The Americans 



Cries. 

{Far left) 
'Tain't fair! 'Tain't fair! 

{The walls are heard sighing) 



Voice. 

{From above) 

Who will go down 
Where all is sorrow, woe, and strife, 
Where unshaped things are jostling into life? 
Who will go down? 

Harry Egerton. 
I will. 

Voice of Mrs. Egerton. 
{Full of anguish) 
Harry! Harry! 

{There is a thundering and crashing in the dark- 
ness) 

Harry Egerton. 

{Quickly staggering to his knees, then to his feet) 
Here! here! Mother! mother! 

{Instantly the darkness disappears. Morning is 
breaking over the mountains) 
73 



The Americans 



Harry Egerton. 

{Looks about. Clasps his head in his hands) 
Horrible! horrible! 

(Sees the ashes of the fire. Recalls the incidents 
of the early night) 
And went away. 

(Notices that the boulder is gone. Looks down 
the slope j left) 
The boulder thundering down the steep. 
I must have slept upon the ground. 
Ah, what is this? 

(Gets down on his knees where the boulder lay) 
The Mine! The Mine! The Mine! 



74 



The Americans 



ACT II 



THE MILL 



Scene: A street showing, right, the great lumber 
plant of the Egerton Company. Centre, occupying the 
greater part of the space between left and right, a sort 
of common, overstrewn, as such places usually are, 
with sawdust and waste sowings of the mill, extends 
back a hundred yards or so to where the river sweeps 
in from behind a rising slope on the left and disap- 
pears behind the high fence of the mill-yard on the 
right. Across the river, right, the same denuded moun- 
tains as were seen in the preceding Act, and, centre, 
the alluvial stretches of the valley widening out into 
the plains. Left rear, on this side of the river, a sort 
of hill comes in and upon its rather steep slope are 
rows of roughly built plank houses which have evi- 
dently been standing many years. They are all of one 
design and rest in the rear upon the ground, the front 
being propped up on posts, in some cases six or eight 
feet high. Of two or three of these shacks it would 
seem that the occupants had tried to have a garden, for 
here and there are small green patches as of late tur- 
nips, also tall stakes with withered bean vines clinging 
to them. From the numerous footpaths that come 
down toward the mill-gate it is evident that these 

75. 



The Americans 



shacks are the homes of the employees of the Egerton 
Company. The mill-yard on the right is surrounded 
by a high board-fence. New planks have recently been 
put in here and there, and on top of the fence, appar- 
ently just strung, are several rows of bright new 
barbed wire. Over the top of the fence and through 
the open gates of the driveway which is in the corner, 
a portion of the latter having been cut off for this pur- 
pose, are seen countless lumber stacks, and beyond 
these, far back and facing left, a section of an enormous 
mill. Along the comb of the roof, doubtless running 
its full length, is a large red sign with white letters of 
which one sees only: RTON AND CO. 

Before the entrance to the mill-yard two of the 
State militia with rifles upon their shoulders patrol the 
property, one of them pacing right and left along the 
street in the foreground, the other backwards and for- 
wards in the open space that goes toward the river. 
About twenty feet from the entrance stands a large red 
automobile, under which, stretched upon his back, lies 
the chauffeur, with his hands up fixing something. 

As the Scene opens, the two sentries, one of them 
rolling a cigarette, the other with his gun behind his 
head and with his arms hanging over it, stand listen- 
ing back toward the mill, where a number of voices 
are singing, 'There'll Be a Hot Time in the Old Town 
To-night! When the song is finished a cheer goes up. 

Time: The afternoon of the next day about four 
o'clock. 

7 6 



The Americans 



First Sentry. 

All I say is, keep your tobacco dry 

And don't go wiring the folks at home 

To have your supper warm to-morrow night. 

Chauffeur. 

They'll be to work, all right, you take my word. 

First Sentry. 

There's such a thing as eating words until 
Your belly cries for something solider. 

Chauffeur. 

(Pointing toward the mill) 
You see that smoke back there. 

First Sentry. 

That's all right, too. 
A kid can start a fire. 

Chauffeur. 
Wait and see. 

A Militiaman. 

(Who, half way back toward the mill, has 
climbed upon a lumber stack) 
I nominate J. D. for Governor. 

77 



The Americans 



A Voice. 

{Farther back, commandingly) 
Shut up your mouth up there! 

Second Voice. 
Will you be good? 

{The militiaman gets down from the stack) 

Second Sentry. 

How large a force is it they're counting on? 

Chauffeur. 

It's not the fcrce. It's the effect 'twill have. 
You let a dog run for another's bone, 
You'll see the last dog do some running too. 

First Sentry. 

And do some fighting, maybe. 

Chauffeur. 

That's up to you. 
The law potects men in their right to work. 
{The sentries whisper together) 

Chauffeur. 

The old man knows his business. All he says 
Is simply this, 'I'm bringing in the men. 
It's up to you to get them to the mill.' 
You see you don't know everything, my boy. 

78 



The Americans 



First Sentry. 

You work for Egerton, and I don't blame you, 
But when you come right down to solid facts — 
And if you'll clear your eye a bit you'll see it — 
He's got his match in this man Williams. 

Chauffeur. 
What! 

Second Sentry. 

He's got his match in this man Williams. 

Chauffeur. 
C-h-rist! 

First Sentry. 

Figure it out yourself. 

(He sees Wes Dicey who, with Jim King and 
Rome Masters, has just come in, right) 
What do you want ? 

Dicey. 

He knows me. 

Chauffeur. 
He's all right. 

(Careful to keep out of sight of the shacks on the 
slope, Dicey and his companions whisper to- 
gether near the fence. The Second Sentry, as 
79 



The Americans 



though he had been neglecting his duty, goes 
out right j patrolling his beat) 

First Sentry. 

It's easy enough 
To figure it out, I say. There's thirteen men 
Returned to work in five weeks. In an hour 
You calculate four hundred will return. 
You fellows couldn't count nine pins for me. 

{Dicey and his companions pull their hats down 
over their eyes, their collars up about their 
necks, and make briskly for the gate) 

First Sentry. 

(Starts back on his beat) 
Talk of a man like that running the State. 
He'd better learn to run his business first. 

(George Egerton, looking spick and span, comes 
out of the mill-yard, putting on one of his 
gloves. He glances at Dicey and his compan- 
ions as they pass in. Suddenly he turns and 
whistles after them and saunters back into the 
mill-yard as if to speak with them) 



George Egerton. 

(Coming out a little later) 
O Jack, will you tell mother- 

80 



The Americans 



Chauffeur. 
Yes, sir. 

George Egerton. 
{Provoked) 

What? 
Why do you put it that way? Now I've forgot. 

{Continues putting on his glove) 
Tell mother I've inquired of the men 
And they've seen nothing of him. 

Chauffeur. 

Yes, sir. 

George Egerton. 
What? 

Chauffeur. 

Nothing of Harry, sir. 

George Egerton. 

{Walks left, then comes back) 
Jack. 

Chauffeur. 
Yes, sir. 

George Egerton. 

Jack. 

8 1 



The Americans 



{Looks over in the car) 
Did you find any hair-pins in the car 
This morning? 

Chauffeur. 

Not this morning. 

George Egerton. 

(Takes a coin from his pocket and hands it to 
the chauffeur) 
You'll take care. 

(He goes out left, examining his face in a small 
mirror which he has taken out with the coin. 
The Second Sentry has come in right and stands 
reading a notice which is tacked on the fence) 

Chauffeur. 

By sun-down, don't it? 

Second Sentry. 

Something of the sort. 

Chauffeur. 

And the wind sharpening up across the plains. 
They'll think twice, won't they, before they stay 
out? 

Second Sentry. 

Who signed this name here? 

82 



The Americans 



Chauffeur. 

Eg — the boss himself. 

Second Sentry. 

Hell of a hand he writes. 

Chauffeur. 

Your partner there 
Knows about as much of the situation here 
As a sea-turtle knows of sassafras. 
Talks of a match. There's been no match at all. 
The old man's never tried to start the mill. 
But let a thing like that go up some day. 

{Buck Bentley with an empty nail keg in his hand 
comes from the mill-yard and sits down with 
his back to the farther gate-post and begins to 
fill his pipe) 

Chauffeur. 

If you've heard thunder, one of those loud claps 
That ends the winter, and if you'd lived here 
And knew the old man's power, then you'd know 
I'm shooting low when I say they'll be here, 
If they don't all fall dead upon the way. 
They've got to make hay now. Days don't stand 

still 
When the old man is moving to and fro. 
[Goes about oiling the machine) 

83 



The Americans 



First Sentry. 

{Coming forward) 
If Williams comes, I'll tell you what he'll do. 
With the big force he'll have behind his back, 
He'll lock these gates and coop the old man up 
With Jergens and the Chief and all the rest. 
Then say, 'Now take me home.' You know the 

way. 
You'll take him to the big house on the hill. 

{The Chauffeur turns and looks at him half in 
anger, half in contempt) 

First Sentry. 

You won't dare look at him that way. 

Second Sentry. 

Dan's right. 
You fellows, you that shove those things about, 
You have a way of knowing who's the lord. 

First Sentry. 

Exactly. And this man Williams up and down 
Is big as Egerton. And the old man's 'spike' 
Will touch him where the tailors say it should. 
And if it's lined with silk Williams won't care. 
He'll steer the big blow-out this afternoon 
And they won't know the difference. It's the front 
And the big planet here that people see; 
And Williams is as broad as Egerton. 

84 



The Americans 



(A militiaman comes hurrying from the mill- 
yard) 

Militiaman. 
Who's got a cigarette to trade for news? 
You couldn't guess it in a thousand years. 

Second Sentry. 
We're going home. 

Militiaman. 

Guess high ; guess something great. 

First Sentry. 

The boys have met the strikers at the station 
And we're all going into action. 

Militiaman. 

Nope. 
Something the old man's done. 

Second Sentry. 
What? 

Militiaman. 

Put her there. 
(The Sentry gives him a cigarette) 
Ordered us down a big red tub of punch, 
With six or eight kegs of the foaming stuff. 
(The Sentries stare comically at one another) 

85 



The Americans 



Militiaman. 

Well, my tin soldiers? Under a shot like that 
To stand as cold as you do! 

(Shouts in the ear of the First Sentry) 

Punch, old man! 
(To himself) 
The wind of liquor and they've gone dead drunk! 

First Sentry. 

(Starts for the mill-gate, then turns) 
Who said 'shut up' when some man back there cried 
'Hurrah for Egerton'? 

Militiaman. 
Cap. Haskell. 



First Sentry. 

(To the Second Sentry) 
Eh? 

Second Sentry. 
Haskell to hell. 

First Sentry. 

(Shouting toward the mill) 

Hurrah for Egerton 
For Governor! 

Second Sentry. 
Hip hurrah! 

86 



The Americans 



First Sentry. 

Up with you, Buck! 
We'll have no traitors in the camp, by God. 
Up on your pins and shout 'Hurrah!' three times. , 
{He seizes Bentley and they wrestle into the mill- 
yard) 

Second Sentry. 

Eight kegs, you say? 

Militiaman. 

{Slapping him on the back) 

And punch, old man, and punch! 
Reception punch! 

{He hurries out toward the mill. Bentley enters, 
followed by the First Sentry) 

Second Sentry. 

What do you think of that? 

First Sentry. 

{To the Chauffeur, with affected disdain) 
Talk about Williams downing such a man! 

Second Sentry. 

{Nodding toward the Chauffeur) 
And he, too, in the employ of Egerton! 

Chauffeur. 

Fine pair of knaves ! You'll drink his wine all right. 

87 



The Americans 



Second Sentry. 

(On his way out, points to the notice) 
Look what a damn fine hand the old man writes. 
(Goes out right) 

First Sentry. 

(On his way back, to the Chauffeur) 
It's a good thing that some men never tell. 

(Walks slowly, rifle up; then from rear) 
Hurrah for Egerton for Governor! 

Voice of Second Sentry. 
(Out right) 
Halt! 

(A pause) 
Halt! 

(Buck Bentley rises from the keg and comes for' 
ward) 
Do you hear! 

(The Chauffeur leaps from the car and hurries 
forward. There is a shot) 

First Sentry. 

(Running forward) 
Who is it? 

Militiaman. 

(Hurrying from the mill-yard) 
What was that? 

(Voices are heard right. A moment later the 

88 



The Americans 



Second Sentry enters with Harvey Anderson, 
who carries in his arms fragments of the cast 
that has been broken by the shot) 

Second Sentry. 

Where in the hell have you been living 

That you don't know enough to stop when 



Harvey Anderson. 

Pard, 
If I'd stop every time some man said stop, 
I'd still be standing somewhere. 

{He walks left, away from the others, who ex- 
change glances as if amazed at the mans au- 
dacity. He lays the largest of the pieces upon 
the ground, then looks among the others in his 
arms. Donald Egerton and General Chad- 
bourne, both evidently dressed for a function, 
the latter being in full military uniform, brand 
new, come quickly from the mill-yard, followed 
by Jergens and the Chief of Police) 

Chadbourne. 

What's the trouble? 

Second Sentry. 

This man came through the line. I called three 
times. 

89 



The Americans 



Chadbourne. 

(To Harvey Anderson) 
Don't you know better than do such a thing? 

Captain Haskell. 

{Comes from the mill-yard, then turns and calls 
back) 
Stay where you are. We'll attend to this affair. 

Egerton. 

What business have you here? 

Harvey Anderson. 

I just came down 
To look about a bit. 

Jergens. 

To look about ! 
You think we're running a menagerie? 
Didn't you see these soldiers? What do you mean? 

Harvey Anderson. 

(To the Chief of Police) 
Just step back, pard. I'm neither dog nor bear. 
(Back in the mill-yard militiamen are seen climb- 
ing on top of lumber piles to see what the 
trouble is) 

Egerton. 

Came down from where? 

90 



The Americans 



Harvey Anderson. 

From up there on the mountains. 

Jergens. 

To look about for what? 

Harvey Anderson. 

Just anything — 
Just anything that's 'round to see. 

(He gets down and begins to fit the pieces to- 
gether. The men watch him. Suddenly he 
stops and looks about him) 

Did I 

(He rises and goes right to where a piece of the 
cast lies upon the ground) 

Chief of Police. 

Shall I take charge of him, Mr. Egerton? 
I'll lock him up if you say so. 

Chadbourne. 

(As Anderson returns) 

Don't you know 
That when a sentry challenges a man 
He's got the right to shoot him in his tracks? 

Harvey Anderson. 
The risk's on me, pard. 

9i 



The Americans 



Chadbourne. 
Eh! 

Harvey Anderson. 
The risk's on me. 

Chadbourne. 

You take care, sir, how you're addressing me. 
{Jergens walks rear, takes from his pocket some 
field glasses, which he polishes with a handker- 
chief. The Chauffeur joins him. Chadbourne 
turns and says something vicious to the Second 
Sentry ) 

Egerton. 

How came you by this thing? 

Harvey Anderson. 

I'm of the men 
That Egerton sent out. 

Egerton. 

Jergens, is he 
One of our men? 

Harvey Anderson. 
{Glancing up) 
You Egerton? 

92 



The Americans 



Chief of Police. 
He is. 

Jergens. 

There's many of them that I never saw; 
But he's got that, so I suppose he is. 

{He searches the mountains with his glasses. The 
rest contemplate him in silence. In Ander- 
sons eyes, as he watches them, there is a 
strange, glad light. Indeed throughout the 
Scene his manner is that of a man who is hid- 
ing a tremendous triumph) 

Haskell. 

He's out here with his glasses every day. 

Chadbourne. 

One of the richest mines in all the West 



Egerton. 

Very rich mine. 

Chadbourne. 

So I have been informed. 

Chief of Police. 

Been lost for fifty years. 

Chadbourne. 

But with this thing- 
93 



The Americans 



{Indicating the cast) 
You're almost sure to find it. 

Second Sentry. 

(To First Sentry, evidently meaning Chad- 
bourne) 
A damn fool. 

Egerton. 

Yes, we expect the signal any day. 

(Dicey, King, and Masters appear just inside the 
mill-yard and, catching the eye of the Chauf- 
feur, point to J erg ens, who, later, hands the 
glasses to the Chauffeur and goes to Dicey in 
the mill-yard) 

Chief of Police. 

The citizens had arranged a demonstration. 
Flags were to go up that day and cannon boom, 
And Colonel Egerton was to make a speech. 

Egerton. 

Yes, Clayton, and I'll tell them something, too. 

Chief of Police. 

I guess they'll be ashamed to have it now. 

Egerton. 

^Why didn't you stay out on the mountains? 

94 



The Americans 



Harvey Anderson. 
Well 

Egerton. 
Get tired? 

Jergens. 
Chief! 

Harvey Anderson. 
Can't say 

Egerton. 

Then what's the trouble? 

(The Chief of Police joins Jergens and with the 
three men they disappear in the mill-yard) 

Harvey Anderson. 

Well, you see, Mr. Egerton, it's this way: 
A man can piece together things like this, 
But somehow you can't get hold of that in here 
That goes to pieces when your faith breaks up. 

Egerton. 

What do you mean? 

Harvey Anderson. 

I never could find gold; 
It don't run in our family. 

95 



The Americans 



Egerton. 

Rather late 
In your discovery, it seems to me. 
Why didn't you think of it when you first went out ? 

Harvey Anderson. 

Well, you know how it is. You've seen a stone 
Hang on a mountain side for years sometimes; 
You don't know why; you just don't notice it 
Until some morning — jump! she thunders down 
And wakes a whole town up; then you remember. 
(He comes forward and looks off in the direction 
from which he came as though he were ex- 
pecting someone) 

Egerton. 

(To Chadbourne) 
A sort of luck, you see, this getting on. 

Chadbourne. 
Predestination. 

Egerton. 

Yes; if a man's rich 
He couldn't help but be. There's some old lamp, 
An heirloom in his family, that he rubs. 
And if he's poor, 'Hard luck.' 

Chadbourne. 

Or been 'ground down/ 

96 



The Americans 



Egerton. 

They're told so. 

Chadbourne. 
Egerton's heel. 

Egerton. 

Old Egerton's. 

{They walk toward the automobile) 

Chadbourne. 

I don't know what the country's coming to. 

Egerton. 

Merchants are merchants, Chadbourne. 

Chadbourne. 

I suppose. 
Captain, will you get my overcoat? 

(Haskell, who with the Chauffeur has been look- 
ing through the glasses, goes into the mill-yard. 
A number of militiamen who have been hang- 
ing around the gate gather about Anderson 
and they are soon having a good time together) 

Egerton. 

What do they care for Country or for Art, 
Or any of the higher things of life? 
'Give us this day our daily trade.' We live, 
We manufacturers, to fill their tills. 

97 



The Americans 



Chadbourne. 

They're sowing dragons' teeth and they don't know 
it. 

Egerton. 

You'll see them to-morrow when I start the mill ; 
They'll tip their hats when I pass through the 

streets. 
And you could comb the town: they never heard of 
Any petition to the Governor, 
Nor any contributions, not a one. 
They're all staunch friends of mine, and always 

have been. 
'Why, Colonel Egerton, he built this town, 
Our leading citizen.' I'll get them though. 

Chadbourne. 

If you could shut down for a season, say. 

Egerton. 

That's just what I've been wanting to do, Chad- 
bourne. 
Unfortunately, just now we're in a place 
Where we can't do as we would like to do; 
Or rather Jergens is. 

Chadbourne. 
He told me. 

98 



The Americans 



Egerton. 

Yes, 
He's got to meet his margins. 

Chadbourne. 
It's too bad. 

{The militiamen laugh out at some story Ander- 
son is telling them) 

Egerton. 

So I can't strike them without striking him. 

Chadbourne. 

I hope you'll find the mine. 

A Militiaman. 

{Appearing at the gate) 
'Phone, General. 

Egerton. 

I'll show them though that J. D. don't forget. 

Chadbourne. 
Pardon me. 

{He starts for the mill-yard. With a wave of his 
hand he orders the militiamen back through 
the gate) 

99 



The Americans 



Harvey Anderson. 

{Aloud j as they draw away) 

And we charging up that Hill 
As if we didn't know what canned beef was, 
We, when we'd had slow elk* out on the plains. 
(Egerton goes rear to the Chauffeur and himself 
adjusts the glasses to his eyes) 

A Militiaman. 

(As they pass through the gate) 
Stay and have one with us. 

Harvey Anderson. 
After business hours. 

Egerton. 

Where did you leave off? 

Harvey Anderson. 

Where the big rock hangs 
On the south slope up yonder. 

(Dicey, King, and Masters come from the mill- 
yard, followed by Jergens. Dicey is dividing 
money with his companions) 

Dicey. 

Thank you, boss. 

* Stolen cattle 

100 



The Americans 



Jergens. 

Then call me up. 

Dicey. 
I will. 

Harvey Anderson. 
It ain't there now. 

{The three men go out around the corner right. 
Jergens joins Egerton and the Chauffeur. 
Harvey Anderson watches them in silence) 

Harvey Anderson. 
And that's another reason I came down 
To hear those cannon boom and see those flags. 
You'll have a band play too? 

{With his eyes fixed upon them he slowly shoves 
his foot through the cast and it falls to pieces. 
He stands still for a moment. He then picks 
up his hatchet and roll of blankets, and, going 
to the gate, throws them into the mill-yard. 
He does the same with the fragments of the 
cast, first carrying an armful which he empties 
inside, then coming back and picking up the 
last two or three pieces, which he jerks in after 
the others. 

The First Sentry, coming from rear, signals 
to the Second Sentry, who is passing on his 
beat. The latter waits and, having heard what 
the former had to say, starts off) 
IOI 



The Americans 



Second Sentry. 

{Evidently quoting Chadbourne) 
'Tried to get smart 
And hit the cast to see the pieces fly.' 

(The First Sentry starts back on his beat, laugh- 
ing) 

Harvey Anderson. 

(As the Second Sentry passes him) 
It's steel you're shooting, ain't it? 

Second Sentry. 
Go to hell. 
(Goes out) 

Harvey Anderson. 
It's all right, partner. 

(Like a great boy he stands tossing his hat into 
the air and trying to catch it. Egerton and 
Jergens regard him and seem to be saying some- 
thing about him. Jergens goes into the mill- 
yard) 

Egerton. 

(Comes to Anderson) 

In the line of work, 
What have you ever done? 

1 02 



The Americans 



Harvey Anderson. 

Most everything, 
From punching cattle down to hunting gold. 
But chiefly knocked about among the States. 

Egerton. 

Drinking and gambling? 

Harvey Anderson. 
Some of that in too. 

(The Chauffeur goes into the mill-yard) 

Egerton. 

There's something in you that I like, my man. 
You go about things in a way. And then 
The daring that you showed. You're full of life ; 
A man can see that. Tended cattle, eh? 
Think you could govern men and round them up 
If need be? 

Harvey Anderson. 
I don't know. 

{Tosses his hat into the air) 

Egerton. 

You don't belong 
To a Union? 

Harvey Anderson. 
No. 

103 



The Americans 



Egerton. 

You're not the sort of man 
To stand dictation. You've a work to do, 
Men of your type. I think I heard you say 
That you were with the rangers at San Juan? 

Harvey Anderson. 

I did some time down there. 

Egerton. 

Well spent, my boy. 
I had a brother in the Civil War. 

{Watches Anderson catching his hat) 
That was a good one. I know how you feel; 
So full of life you don't care what comes on. 
'Out of the way !' It's rare enough these days. 
You'd be surprised what cowards most men are, 
Big six foot fellows who want to go to work; 
Offer it to them and they shake their heads 
Because they see some pickets round the corner. 

Harvey Anderson. 
'Fraid of your soldiers? 

Egerton. 

Pickets; Union men. 
They'd fly to arms quick enough if Charlie Hare — 
Charlie's our Mayor — said 'No more free speech.' 
But Williams he can say, 'No more free work.' 
They'd rather talk, you see, than be free men. 

104 



The Americans 



Harvey Anderson. 
That's a good phrase, 'Free Work.' 

Egerton. 

A good 'phrase,' yes. 

Harvey Anderson. 

We ought to put that in our Bill of Rights. 

Egerton. 

Our Bill of Rights, my boy, 's no more than air. 
It's men to back it up. We've gone to seed 
In Sabbath speculations on men's rights. 
What we need now is Monday morning's work. 

Harvey Anderson. 

This Williams, I suppose, has gotten rich 
Controlling all these men? 

Egerton. 

That I don't know. 
It's not so much the few that he controls 
As the large numbers they intimidate. 

Harvey Anderson. 

Got to accept his terms or not work, eh ? 

Egerton. 

They have a thing they call the 'Union Scale.' 
(Looks at his watch) 

105 



The Americans 



Harvey Anderson. 

And these men that can't work, they stand for that, 
Having no voice at all in their affairs? 

Egerton. 

They don't see; they're a lot of ignorant men. 

Harvey Anderson. 

Why don't you show them? 

{Egerton smiles, walks to the gate and listens, 
then comes back) 

Egerton. 

Out on the plains, my boy, 
Tending your cattle, did you speak with them 
And reason with them? 

Harvey Anderson. 
With the cattle? 

Egerton. 
Yes. 

Harvey Anderson. 

It all depends upon the mood they're in. 
Sometimes a man can just sit on his horse, 
If the feed's good; and sometimes in the night, 
If a storm's brewing, then it's best to sing; 

1 06 



The Americans 



Go round them this way — 

(Circles and sings one of the strange melodies of 
the cowboys) 

for they're restless then. 

Egerton. 

Sing to your cattle? 

Harvey Anderson. 

Let them know you're friends 
All out together and a big storm on. 

Egerton. 

That's interesting. 

(Anderson comes forward and looks off right, the 
direction from which he came, as though he 
were expecting some one) 

Egerton. 

We've got an opening here 
I think would suit you. 

Harvey Anderson. 
Well. 

Egerton. 

In half an hour, 
Or less than that, there'll be a lot of men 
Come from the station, the force I'm bringing in, 

107 



The Americans 



Guarded by soldiers; then, if I guess right, 
The Union — they'll be crowding here for work, 
Wanting to go to work, you understand, 
But with their eye on Williams. He'll say 'No/ 
But there's another faction will say 'Yes.' 



Harvey Anderson. 

And while they're balanced- 



Egerton. 

That's just what I want. 
You've got a good cool head, and you know men. 
And then you have a way of putting things. 

Harvey Anderson. 

Make 'em a little speech? 

Egerton. 

I don't care how. 

Harvey Anderson. 

Just get 'em in your pen, eh ? 

Egerton. 

It's their last chance. 
And I can say, my boy, if you make good 
And prove to be the man we're looking for, 
I'll push you on as fast as you can go. 
My partner here was one that proved himself, 

108 



The Americans 



And then next year we'll take my other mills 
And break this Union thing or we'll know why. 
A shot or two for your own land, you see. 

Harvey Anderson. 
Free Work. 

Egerton. 
Free Mills. 

Harvey Anderson. 
Free men. 
(Starts left) 

Egerton. 

You know the way? 

(Egerton turns and goes into the mill-yard) 

Second Sentry. 

(Comes in right and meets the First Sentry, who 
has just come forward) 
Damn stuck-up fool! Just because Egerton 
Invites him to his house. 

First Sentry. 
He's got a corn. 

Second Sentry. 

I hope they'll tramp it off. 

109 



The Americans 



(The First Sentry quickly signals that some one 
is coming toward the gate) 

Second Sentry. 
God, I don't care. 

(The Chauffeur comes hurriedly from the mill- 
yard and goes and gets into the car. A mo- 
ment later General Chadbourne and Captain 
Haskell appear) 

Chadbourne. 

And I'll be there till nine or ten o'clock, 
Or even later, for we've some important 
Matters to attend to. And besides 
It's going to be a very fine affair. 

Haskell. 
All right, sir. 

Chadbourne. 

You won't need me, though, I'm sure. 
Things seem to be all quiet at the station. 

Second Sentry. 

(As he goes out) 
Ass! 



Haskell. 



ASKELL. 

We'll break camp to-morrow, I suppose 

no 



The Americans 



Chadbourne. 

That's what I had in mind a while ago! 

I'm glad you spoke of it. When they pass these 

gates, 
You be here, Haskell, and you get me word. 
I want to be the first to break the news 
To Egerton and the Governor; want to say: 
'I have the honor to report to you, 
Your Excellency, 

And it gives me pleasure to announce to you 
Upon the occasion of the opening 
Of your new mansion, Colonel Egerton, 
This bit of news, sir, from the military, 
And I offer it with our congratulations, 
The strike is over ' 

Voice of Jergens. 

(Back in the mill-yard) 
General Chadbourne! 

Chadbourne. 

Yes!— 
'The men have yielded and have gone to work ; 
And all's been done without one drop of bloodshed, 
Thanks to the Governor and to your co-operation 
And to the splendid service of the boys. 
To-morrow we break camp and go our ways. 
Health to you and long life and peace hereafter 
In your new home.' Or something of the sort. 
I haven't whipped it into final shape. 

ill 



The Americans 



Haskell. 

And got off, I suppose, with glasses lifted. 
'Twill be a nice green feather in our cap. 

Chadbourne. 

And duty done, it's well to have big friends. 
There's that old question of the armory; 
I'm going to try to jam it through this session. 
And besides that — 

{Calls toward the gate) 
What's up ? 

Jergens. 

{Enters with the Chief of Police) 
How large a force 
Did you send to the station? 

Chadbourne. 
Why do you ask? 

Jergens. 

There's talk of violence among the men. 

Chief of Police. 

Some even go so far as to advocate 
Marching upon 

Jergens. 

That, Chief, may all be bluster. 
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The Americans 



For this man Dicey — these men have a way 
Of making things look bad to extort money 
And earn them credit if they turn out well. 

Chief of Police. 

As a precaution though. 

Jergens. 

I've no objection. 

{Egerton comes from the mill-yard) 

Chief of Police. 

You'd better throw a guard about the house. 
You see it's out of my jurisdiction. 

Egerton. 

Coming to see me, eh? 

Jergens. 

I don't believe it. 

{Chadbourne talks aside with Haskell) 

Chief of Police. 

To see the Governor, they say. 

Egerton. 

All right. 
{Gets into the automobile) 
They'll find him in the southwest room upstairs 

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The Americans 



When the train comes. Have them clean off their 
feet. 

Ralph Ardsley. 

{Who has just come in, left) 
Clean off whose feet? 

Egerton. 

Yours, Ardsley. Step right in. 

{The Chief of Police goes out, left) 

Ralph Ardsley. 

What's the news now? 

Egerton. 

The news is that you've got 
Barely an hour to get on your togs. 

{Ardsley unbuttons his light overcoat and shows 
his full dress) 

Egerton. 

You editors are smart men. 

{Chadbourne gets in behind with Egerton, Ards- 
ley in front with the Chauffeur) 

Chadbourne. 

{As they go out right) 
Don't forget, Haskell. 

{Jergens lingers about as though undecided what 
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The Americans 



to do. Finally he goes left and saunters down 
the street. Haskell enters the mill-yard. Later 
an old womanj who has evidently been 
waiting till the mill-owners left, comes down 
the hill-side rear left and begins to pick up 
sticks that lie scattered about in the sawdust) 

First Sentry. 

{Who finally sees her) 
Get out ! 

Old Woman. 

They're thrown away. 

Buck Bentley. 

{Who has come from the mill-yard and resumed 
his seat on the keg) 
Let her alone. 

Old Woman. 

God help us if we can't have even sticks 
That's thrown out. 

First Sentry. 

Let your old man go to work. 

Old Woman. 

Then let 'em pay fair wages. Ain't they all 
Wantin' to work? What's the poor to do, 

ii5 



The Americans 



Things goin' up an' wages goin' down ? 
What's the poor to do ? 

First Sentry. 

That's your look-out. Move on! 

{He starts toward the old woman. Buck Bent- 
ley knocks the ashes from his pipe and goes to- 
ward the First Sentry) 

Second Sentry. 

{Who has been watching) 
Know what you're doing, Buck? 

{There is a fight. Bentley takes the rifle from 
the First Sentry who, in a rage, starts for the 
gate) 

First Sentry. 

If this goes by 
I'll show the regiment a thing or two. 
I'll jump the Service, that's what I'll do. 

{He hurries into the mill-yard. Bentley helps 
the old woman pick up the sticks) 

Old Woman. 

I thought they'd never go. God bless you, son. 
{Starts up the slope) 

Second Sentry. 

We'll see, by God, who's running this shebang. 

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The Americans 



Old Woman. 

You ain't heard nothin' from the station yet? 

Buck Bentley. 

No, mother. 

( The old woman goes out. Bentley comes to the 
gate and sets the rifle against the fence) 

Second Sentry. 

( Talking into the mill-yard) 
He even helped her fill her apron. 

Haskell. 

{Entering with the First Sentry) 
Have you gone crazy, Buck? What do you mean? 

Buck Bentley. 

{Fills his pipe) 
Is this the Company's property out here? 

Haskell. 

We've got our orders and that settles it. 
Don't settle it with you, eh ? 

A Militiaman. 

{From the top of a lumber stack) 
Here they come! 

First Sentry. 

In other words you'll do as you damn please. 

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The Americans 



{Haskell comes forward and looks down the 
street, left) 

Haskell. 

Now shut your mouths. 

First Sentry. 

I'm not through with this yet. 

{Picks up his rifle and goes back on his beat) 

Second Sentry. 

Damn pretty soldier you are. 

Haskell. 
Do you hear? 

{Militiamen are seen climbing on top of the lum- 
ber stacks. Others appear at the gate. Cap- 
tain Haskell walks left where a noise is heard 
down the street. Presently a squad of militia 
enters with fifteen or twenty strike-breakers. 
Behind them, with the officer in charge, comes 
J erg ens, who is speaking to the crowd of strik- 
ers that follows. In front of the crowd walks 
Sam Williams. Mingling among the men are 
seen Dicey, King, and Masters. Some women 
and children straggle in and linger, left. On 
this side of the crowd, silent, watching every- 
thing, is Harvey Anderson) 

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The Americans 



Jergens. 

The world is big and we can get the men. 

Sam Williams. 

That's all right, Mr. Jergens. 

Jergens. 

All we want, 
And more too. 

Sam Williams. 
That's all right. 

Jergens. 

We've shown you that. 
If not, stick it out; that's all I've got to say„ 

Sam Williams. 

The point is now about the saws. Will you 
Put the guards on? 

Voice. 

{From the crowd) 
There where the boys were killed. 

Jergens. 

We will or will not, as it suits ourselves. 

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The Americans 



Voice. 

(From the crowd) 
About our places, Sam. 

Sam Williams. 

If they come back, 
You'll give the boys the places that they had, 
All of them? 

(The militia, with the strike-breakers, pass into 
the mill-yard) 

Voice. 

(From the crowd) 
Will we get our places back? 

Jergens. 

The places that have not been filled are yours. 
As for discharging men that we've brought here, 
Not one. 

(He says something to Haskell, then turns to the 
crowd) 

Now just one word. When these 
gates close, 
You're out. You understand that, do you? Out 
Not for to-day, to-morrow, or six weeks, 
But all time. You've got just ten minutes left. 
Then, Captain, close these gates. 

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The Americans 



Haskell. 
All right, sir. 

(J erg ens passes into the mill-yard) 

Voice. 

{From the crowd) 
Well? 

Another Voice. 

What do you say, Sam? 

Jim King. 

Williams has had his say. 
And you see where we are. 

Rome Masters. 
Hear Wes! 

Jim King. 

Wes! 

Several. 
Sam! 

Sam Williams. 

I don't know, comrades, as I ought to say, 

Seeing as I don't gain or lose in this. 

For I'm of them that have no place in there. 

But if you want my 

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The Americans 



Cries. 

Yes, go on ! Go on ! 

Sam Williams. 

Well, comrades, it's the Union first with me. 
That props the rest. You take that prop away 
And everything comes down. We've climbed a bit 
Since we first organized. And what we've won, 
What is it that keeps it won? The Union, 

comrades, 
Is just another name for all of us. 

Jergens. 

{Appearing at the gate) 
Another thing. If you don't come to work 
We'll want those shacks up there. Remember that. 

(Goes out) 

Sam Williams. 

And we need something bigger than we are, 
Don't we, if they do with their mills and lands? 
You heard Aug. Jergens what he said just now 
When Chris here called to him, 'But you unite.' 
You heard him say, 'That's none of your affair.' 
Then how's it their affair if we unite? 
Logs you can't handle, but you saw them up, 
Then you can handle them. It's the same with us; 
They want to handle us to suit themselves. 
Comrades, I don't see if you go in there 

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The Americans 



How you'll not have to come out here again; 
Unless you mean to bear whatever comes. 
You'll hear no big voice, 'Then we'll all go out,' 
That's kept their hands from off you many a time. 
Or is it their mercy that you're counting on? 
Poor hold you've got there. One window yonder 
Of Egerton's big house would put the guards 
About the saws. But you hear what he says. 
And it's our lives he's talking of. 

A Woman. 

(To another who begins to cry) 
Never mind. 

Sam Williams. 

What is it that gives him power to talk that way? 
Why is it he can do that, 
(Lifts his hand) 

and trains come in 
With soldiers? We can't do it. And they're two 
And we're four hundred. 

Jim King. 

That don't get us bread. 

Sam Williams. 

Is it because they own the mills and lands? 
It's only when they own us that they're strong. 
Comrades, you've come now where the ways divide. 

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The Americans 



There's bigger gates than these stand open here 
If you'll just stick together. 'Tain't to-day 
I'm thinking of. There's a green shore somewhere 
If you'll just turn your faces from that gate. 
But if you're going to give your Union up 
When they say if you don't we'll close these gates, 
You'll have no peace. They'll hold it over you 
To force you down. Comrades, the day will come 
When you'll regret it if you go in there, 
Giving your Union up. But that's with you. 

Chris Knudson. 

Sam's right. We can't be slaves, men. 

King and Masters. 
Wes! Hear Wes! 

Chris Knudson. 

Let's march on out to Egerton's big house 
And call the Governor out and lay our case 
Before him. 

Cries. 

Right! That's right! 

A Voice. 

First let's go home 
And get the women folk and all march out. 

124 



The Americans 



Mike Hawley. 

You talk like fools. Ain't Braddock, too, a slave? 
He's 'bout as big to Egerton as your thumb. 

Wes Dicey. 

It seems to me like, boys, we're in a boat. 
We've pulled together hard as any men 
Tryin' to make the shore off there. But here 
She's leakin' and our biscuits have give out. 
The question now is, hadn't we better make 
For this shore here ? It ain't the one we want ; 
But here there's bread and water. But they say — 
And this it is that seems to rub Sam most — 
'Scuttle your boat or you don't land here.' Well, 
Scuttle her, then I say. 
(Hisses from the crowd) 

Now you hold on. 
I love the Union much as any man. 
And I've stood by her, too, through thick and thin. 
Ain't I stood by her, boys? 

Jim King. 

Wes is our friend. 

Wes Dicey. 

And will again. Then what do I mean ? Just this : 
It's a queer shore ain't got a cove or two 
Where you can hide her. I don't mean to say 
That Sam ain't done his best to captain us; 

125 



The Americans 



He has. But here she is, she's goin 5 down, 
So I say land. For bread tastes mighty good, 
And air this time o' year won't keep you warm 
If you're turned out. Later, we get our strength, 
We'll patch her up and make for that green shore 
Sam talks of. But just now it's this or this. 

{Points toward the mill, then to the ground) 
And if we go down, then where's your Union ? Eh ? 

A Voice. 
He's right. 

Rome Masters. 

But if we live, then it lives too. 

Wes Dicey. 

So it's the Union that I'm speakin' for. 

Jim King. 

He's speakin' for our wives and children too. 

A Voice. 

What about us whose places have been filled? 

Another Voice. 

You want us all to go down, eh? 

Sam Williams. 
No! 

126 



The Americans 



Several. 
No! 

Harvey Anderson. 

Pards, 
I'm one of Egerton's men, if you'll let me 
Butt in here just a minute with a word. 
You've seen two sides of this thing, but there's 

three. 
There's one big black one you don't face at all, 
Even your Captain here. You're all right, pard, 
In what you say about their mills and lands 
Not giving them power ; it's their owning you. 
And if you'll just tear up that bill of sale 
And call the deal off, Egerton's big shadow 
That fills the valley, lengthening year by year 
Until your hair stands up, you'll be surprised 
How you can cover it with a six-foot pole. 
For it's on you he's standing. 

Wes Dicey. 
Who are you? 

Harvey Anderson. 

But look here, pards, are you calling off this sale 
Or simply trying, as it seems to me, 

To make him take the goods at the old price? 

1 

Haskell. 

What have you got to do with it? 

127 



The Americans 



Harvey Anderson. 

And what's the price? 
Where's all that gone? 

{Points to the mountains) 

Were those just weeds up there 
That's been cleared off to get a better view? 
Or Christmas trees? 

Jim King. 

Who are you? 

Harvey Anderson. 

And loaded, too, 
With food and clothes and homes and silks and 

gems 
And punch that bubbles till she runs down here, 
Flushing the soldier boys until they're gay 
And on their mettle. Is his name Egerton 
That planted all those pines? 
{Points to the sky) 

Wes Dicey. 

What's it to you? 

Harvey Anderson. 

Worked all these years and yet you've got no bread ? 

Haskell. 

{Coming toward him) 
What business is it of yours what these men do? 

128 



The Americans 



Harvey Anderson. 

Handled all that and yet you've got no rcof 
To cover you! 

Buck Bentley. 

{Following Haskell) 
Look here, Cap. 

Harvey Anderson. 

And this man comes 
And cracks his whip, We'll oust you.' What do 
you say? 

Buck Bentley. 

We came down here to see the square thing done, 
Not to take sides and try to break this strike. 
(Haskell stares at him in amazement) 

Harvey Anderson. 
What's your name? 

Buck Bentley. 
Bentley. 

Harvey Anderson. 

I'll remember that. 
And my name's Anderson. 
(They shake hands) 

129 



The Americans 



Haskell. 

{Beckoning to the militiamen about the gate) 
Three or four of you. 
I give you ten days in the guard house, Buck. 

Harvey Anderson. 

You won't be there two hours, pard, take my word. 
There's something going to drop here pretty soon. 

Haskell. 

(Calls after the militiamen) 
Tell Mr. Jergens to step here a minute. 
(Bentley is led away into the mill-yard) 

Harvey Anderson. 
(To the crowd) 
God playing Santa Claus among the pines — 
Why ain't you fellows had your stockings up? 
Or if you have, what are you doing here 
Weighing yourselves out on the same old scales, 
Men against bread? Pard, let me ask you this: 
Suppose you do land with your Union boat, 
The bosses on the shore saying all right; 
What is it you land for? Grub for another cruise? 
And you'll go back then to the fishing grounds 
And sink your nets again ? Who'll get the catch 
This time? Them that's had it all these years? 
You've made a big haul here, it seems to me, 
Minnows and all. Hundreds of miles like that. 

130 



The Americans 



When are you fellows going to dry your nets, 
Haul up your boat and say, 'Let's weigh the fish' ? 
What do you say, pard? 

Sam Williams,. 
You a Union man ? 

Harvey Anderson. 

I don't know much about your Union, pard. 
It's all right, I suppose, far as it goes. 
But tell me this — and here's your black side, men — 
Long as they own the sea 

{Points to the mountains and the plains} 

and own the shore, 
{Points to the mill) 
You think they'll care much, pard, who owns the 

boat? 
And how'll they not own you ? You tell me that. 
{Williams and the crowd stand silent) 

Harvey Anderson. 
What do you say? 

Haskell. 

{Watch in hand) 
You've got two minutes left. 

Harvey Anderson. 

Two minutes left of freedom. What do you say? 
You've got no North to look to, you white men. 

131 



The Americans 



A Woman. 

(With a child in her arms) 
If you go in there, John, don't you come home. 

Harvey Anderson. 
Bully for you, sister! 

The Woman. 

Don't you dare come home. 
We ain't starved with you, you to sell yourself. 

Wes Dicey. 

It's either go back, boys, or we'll be tramps* 

Harvey Anderson. 

There's thousands of them off there good as you. 
You'd sell your soul to Egerton for bread. 
They keep theirs and go round the back door. 

Voice. 

(From the crowd) 
Well? 

Jim King. 

Listen to me. 

Sam Williams, 

Comrades, they can't start up; 
They've not the men. 

132 



The Americans 



Wes Dicey. 

Suppose they dont start up ? 
Suppose they shut down till the ice blocks there ? 
Then where'll we be? 

Jim King. 

You'll hear the children cry. 

Harvey Anderson. 

Shut up your mouths or, if you're married men, 
Let your wives speak. 'You'll hear the children 

cry!' 
Where in the hell do you hail from any way? 
Or have they starved you till you've lost your grit? 

Haskell. 
One minute. 

Voice. 

{From the crowd) 
Bread! 

Another. 

What will we do, Sam? 

Another. 
Vote! 

Sam Williams, 

I've said my last word. 

133 



The Americans 



Wes Dicey. 

We've no time to vote. 

Voice. 

(From afar, right) 
Wait! 

Jim King. 
Be quick. 

Harvey Anderson. 
Hold on! 

Wes Dicey. 

Boys, suppose they say, 
'First come, first served, and we don't need the 
rest' ? 

Jim King. 

(Calling attention to the first flakes of snow) 
Look at these flakes, men! 

(There is a stampede for the gate) 

An Old Woman. 
Run, Tommy! 

Harvey Anderson. 

(Drawing from his pocket a long blue revolver) 
Halt! 

J34 



The Americans 



The first man puts his foot inside that gate 
I'll kill him. 

Voice. 

(Right as before, now near by) 
One word before you go in there! 
(Harry Egerton enters breathless) 

Harry Egerton. 

Pardon me; I have run some seven miles 
To be here ere the sun went down, for I 
Knew what it meant to you. 

(Stands for a moment collecting himself) 
Men, my friends, 
What is it you are about to do? 

Harvey Anderson. 
They're going back. 

Harvey Anderson. 

(As Harry Egerton seems about to speak) 
Now listen, boys, for now you'll hear a word 
That you'll remember till the crack o' doom. 

Harry Egerton. 

I wouldn't do it, friends, if I were you. 
What will to-morrow be and the next day 
And years to come if you surrender now? 
You have your strength and right is on your side, 

135 



The Americans 



I in my father's offices have struck 

The balances between you men and him. 

I know what part you've had of all these trees 

And what part he has had, and in my heart 

I know there is a balance on your side. 

Things can't go on forever in this way. 

Harvey Anderson. 

Now the snow falls they're afraid the wolf will 
howl. 

Harry Egerton. 

Will you be stronger then a year from now, 
Your Union broken up, your wages less, 
And this defeat behind you dampening all? 
Or do you intend henceforth never to lift 
The voice of protest, silent whatever comes? 
God will provide, my friends. Do not give up. 

Harvey Anderson. 
(Comes to him) 
Tell 'em about it, partner. 

Harry Egerton. 
Not yet. 

Harvey Anderson. 
Why? 

136 



The Americans 



Harry Egerton. 

Their enemies would say it was the gold. 
And we must show them that they're wrong. 

A Workman. 
Look out ! 

Jergens. 

{With a stick he has picked up comes from the 
mill-yard) 
What do you mean by interfering here? 

{He discovers Harvey Anderson talking with 
Harry Egerton and turns, evidently for an ex- 
planation, to Haskell) 

Harvey Anderson. 

You've filed your claim though ? 

Harry Egerton. 
Yes. 

{Jubilant, Harvey Anderson turns and, catching 
up one of the mill-boys, lifts him over his head 
and slides him down his back, holding him by 
the feet. Jergens advances toward him) 

A Workman. 

Look out, comrade! 

Harvey Anderson. 

I wouldn't try it, pard, if I were you. 

137 



The Americans 



Jergens. 

(To the men) 
You'll rue this day! 

(To Harvey Anderson) 
We'll fix you! 
(To the militia) 

Close these gates! 
(Glowers at Harry Egerton) 
Clear these streets, Captain! 

Harry Egerton. 

Stand where you are, my friends. 

Jergens. 

Captain, I order you to clear these streets. 

Harry Egerton. 

Be careful, Captain Haskell, what you do. 
This is a public place. 

A Militiaman. 

What's the word, Cap.? 

Haskell. 

(To the militiaman, irritably) 
Who's in command here, I should like to know? 

Jergens. 

Your father will attend to you, young man, 

138 



The Americans 



{Beside himself with rage, disappears down the 
street, left) 

Harry Egerton. 

Now then go quietly to your homes, my friends, 
And I to-night will see what I can do. 

Sam Williams. 

{Comes toward him) 
Mr. Egerton. 

{Holds out his hand) 

Harry Egerton. 
Yes, Sam. 

{Takes his hand) 

Sam Williams,. 

{To the crowd) 

Comrades, 
I never thought we'd live to see this day. 
{The men crowd about them) 

Harry Egerton. 

Some of you men are hungry. 

The Men. 

We're all right! 
We're all right, Mr. Egerton! 

139 



The Americans 



Harry Egerton. 

But never mind. 
We will begin a new age in this land. 

Harvey Anderson. 

Up with your hats, pards ! God's on the mountains ! 
(Tosses his hat into the air. The workmen, in 
an almost religious ecstasy, go out left, crowd- 
ing around Harry Egerton and Harvey Ander- 
son. Dicey, King and Masters remain behind, 
whispering together, then follow the crowd. 
The militiamen, most of them silent with 
amazement at the scene they have witnessed, 
gradually disappear into the mill-yard) 

First Militiaman. 

I'm for young Egerton if it comes to that. 

Second Militiaman. 

Most of us boys are sons of workingmen. 

Third Militiaman. 
I never thought of that. 

Fourth Militiaman. 

Buck's about right, too, kids. 
We came here to see the square thing done, 
Not to be half-sole to the old man's boot. 

140 



The Americans 



First Militiaman. 
Let's set Buck free. 

Second Militiaman. 
What do you say, kids? 

{They go into the mill-yard, talking earnestly) 

Second Sentry. 
Dan! 

(The First Sentry joins him and they whisper 
together) 

First Sentry. 

(Starts with the other for the gate) 
I've nothing against Buck. 

Second Sentry. 
Haskell's too fast. 

( They enter the mill-yard) 



141 



The Americans 



ACT III 



THE MANSION 



Scene: The great reception hall in the Egerton 
mansion. One sees at a glance that this is the orig- 
inal of the shadow hall shown in the Dream-Vision in 
the First Act. The carved mountain lion crouches 
upon the newel-post, and upon the walls the figures of 
men at work among the pines are identical with those 
of the Vision. But here, seen under a natural light, 
the grotesque grandeur of it all stands out in clear re- 
lief. Forward, left and right, just where the great 
arch separating the main hall comes down, groups of 
little pines in tubs lend a freshness to the scene. 

A brilliant company is gathered. Everywhere, from 
gestures and lifted eyes, it is evident that the mansion, 
especially the strange scene upon the walls, is the chief 
topic of talk among the guests. Centre right, about 
the piano, a number of you, g people are watching a 
couple that is out upon the floor, apparently practising 
a new step. Near the pines, forward left, General 
Chadbourne turns from the butler, with whom he has 
been speaking, to shake hands with some ladies. Later, 
Ralph Ardsley appears just inside the door, forward 
right, and holds up a glass of wine. Two or three 

142 



The Americans 



men notice him and nudge their companions, and one 

after another saunter past Ardsley into the side room. 

Time: The same afternoon about five o'clock. 

Ralph Ardsley. 

Get me the eye of Chadbourne. 

First Man. 
General ! 

{Out on the floor the couple that is waltzing 
jostles an elderly lady) 

Lady in Black. 

Why can't they wait until 



Elderly Lady. 

Now run away. 
You've got all night for this tomfoolery. 

Mrs. Egerton. 
George ! 

{The young people gradually drift out into the 
conservatory) 

Chadbourne. 

{Rejoining the Butler) 
For it's something that concerns the strike. 

Butler. 

Yes, sir. 

143 



The Americans 



Chadbourne. 

And it's important. 

Butler. 
Yes, sir. 

Second Man. 
General ! 

Chadbourne. 

And I'll be right out- 



(Sees the lifted hand) 

I'll be right in here. 
{Joins the Second Man, and the two, with Ards- 
ley, disappear into the side room) 

Young Matron. 

Why do you men keep going out that way? 

Third Man. 

(With a wink) 
The Governor wants to see us. 

(They go into the room, forward right) 

Lady with Conspicuous Coiffure. 

(Entering forward left with Pale Lady) 
Indeed it would; 
To just have all the money that you want. 

144 



The Americans 



Pale Lady. 

And her new necklace, did you notice it? 

Lady with Conspicuous Coiffure. 
Her mother's plain enough. 

Pale Lady. 

There she goes now. 

(They pass rear and mingle with the throng) 

First Man. 

(Appearing forward right with a glass of wine) 
You ladies, I presume, are temperance workers. 
( f The punch/ The punch/' is whispered about , 
and the people begin to pass out centre and for- 
ward right) 

Fat Lady. 

I mean to just taste everything there is. 
(Goes out) 

Lady in Black. 

Isn't it just too grand for anything! 

Pale Lady. 

At night, though, I should think 'twould scare a 

body 
With all those horrid things upon the walls. 

(They go out. A moment later Mrs. Egerton 
145 



The Americans 



comes in and looks about as though she were 
seeking some one) 

Mrs. Egerton. 

{To her daughter, who passes toward the con- 
servatory) 
Please don't keep showing it, Gladys. 

Gladys Egerton. 
Marjorie! 

(She enters the conservatory) 

Mrs. Egerton. 

(Beckons to some one in the room forward left. 
The Butler appears) 
Has no word come? 

Butler. 

Jack says that Mr. George inquired 
And they've seen nothing of him. 

(He goes back into the room, forward left. Mrs. 
Egerton lingers a while, then returns to the 
room, forward right. Here, a moment later 
Ralph Ardsley appears) 

Ralph Ardsley. 

{Calls to a group of four men back near the 
stairs) 
Laggards! laggards! 

146 



The Americans 



{Bishop Hardbrooke and a fellow-townsman, 
each with a man who is evidently a stranger, 
come slowly forward) 

Bishop Hardbrooke. 

Isn't there aspiration in all this, 

{Indicating the house) 
A reaching out toward God, and a love, too, 
Of all that God hath made? 

Fellow-Townsman. 
The river there. 

Ralph Ardsley. 

The walls will be here when the wine is gone. 

First Stranger. 
But public sentiment 

Bishop Hardbrooke 
Vox populi. 

Fellow-Townsman. 

People don't stop to think of what he's done. 

Bishop Hardbrooke. 

Exactly. When an axe falls on one's toes, 
The service that it's been, that's out of mind. 
And yet you throw the bruise, the moment's pain, 

147 



The Americans 



In one side, and in the other a cleared land 
With homes and fields 

Second Stranger. 
That's true. 

Bishop Hardbrooke. 

And populous towns. 
The balance will be struck up yonder, brother. 

Ralph Ardsley. 

Show me one man that's in the public eye 
Because he stands for something, towers above them, 
That hasn't had them yelping at his heels. 

Bishop Hardbrooke. 

You know the Editor of the Courier? 

{The Strangers shake hands with Ardsley) 

Second Stranger. 
You didn't come back. 

Ralph Ardsley. 

I've troubles of my own. 
{Walks back in the hall) 

Second Stranger. 

We were together in the Legislature. 

148 



The Americans 



Bishop Hardbrooke. 

{Stopping near the door, forward right, as if for 
a final word) 
Speaking of Egerton, some years ago 
I saw that statue in the New York harbor, 
The sea mists blown about it, now the head 
And now an outflash of tremendous bronze 
About the waist. 'Is that the thing,' said I, 
'They talk so much about?' Next day 'twas clear. 

First Stranger. 

Looked very different. 

Bishop Hardbrooke. 
It's the same with men. 
(They go out) 

Second Stranger. 
You going in? 

Ralph Ardsley. 

I've got to find a man. 
(The stranger goes out) 

(Ardsley calls toward the room, forward left) 
What's the news from the mill, Charles? 

Butler. 

(Appears at the door) 

I haven't heard, sir. 
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The Americans 



You reckon they'll go back, sir? 

Ralph Ardsley. 

Sure. Where's Gladys? 
(The Butler walks back toward the conserva- 
tory) 
Just tell her I asked about her. 

Butler. 

Yes, sir. 

Ralph Ardsley. 
Thank you. 

(He goes into the room, forward right. The 
Butler returns to the opposite room. All the 
people have now withdrawn with the exception 
of Mrs. Orr, who has come in, centre right, 
and who lingers about as though she were lis- 
tening to the upper part of the walls. Later, 
Mrs. Egerton re-enters, forward right, and 
glances back into the room from which she has 
come, to satisfy herself that her guests are oc- 
cupied. Seeing her, Mrs. Orr comes forward, 
shaking her head) 

Mrs. Egerton. 

No? 

150 



The Americans 



Mrs. Orr. 

No. 

Mrs. Egerton. 
Nothing at all? 

Mrs. Orr. 
Nothing at all. 

Mrs. Egerton. 

I never have been sure myself. Sometimes 
I've thought I heard it. 

Mrs. Orr. 

I can understand 
How one could easily imagine it. 

Mrs. Egerton. 

If you could be here when the house is still, 
Alone 

Mrs. Orr. 

In certain moods, perhaps I should. 
For certainly the trees seem most alive. 
I never would have thought it possible 
To make a forest live and life go on 
In wood as it does here. 'Tis wonderful. 

{Mrs. Egerton glances across into the room, for- 
ward rijjht, from which comes a sound of mer- 
riment) 



The Americans 



Mrs. Orr. 

The very squirrels upon the limbs — see there, 
The young one with the pine cone in its mouth. 
And the faint far-awayness of the wood. 

Mrs, Egerton. 

( Confidentially ) 
Sylvia 

Mrs. Orr. 

Just now as the couple passed 
Practising, I overheard the girl, 
'It almost seems the real pines are here 
Dropping their needles on us while we dance. 
As Lillian says, you feel them in your hair.* 
Now, to my way of thinking, it would be 
Far easier to hear the pine trees sigh 
Than feel the needles. 

Mrs. Egerton. 

It was not the pines. 

Mrs. Orr. 

You said a sighing. 

(Mrs. Egerton says something to her) 
Why, Mary Egerton! 
How horrible! 

Mrs. Egerton. 

It worries me at times. 

152 



The Americans 



Mrs. Orr. 

You do not mean it! And the house just built! 
You foolish dear. 

Mrs. Egerton. 
I know. 

Mrs. Orr. 
(Aside) 
How horrible! 

Mrs. Egerton. 

Harry has always been a strange, strange boy; 
So different from the rest. What is it you hear? 

Mrs. Orr. 

Why, nothing, nothing at all. My dear, this is 
Really ridiculous. If it were old 
And there were cobwebs here and musty walls 
And rumors had come down of some old crime 
But with the timber, every stick of it 
Fresh from the forest, you might almost say 
Picked from your very garden, a pure bloom, 
Fashioned and shaped by your own husband's 

hand: 
How any one could fancy such a thing 
Is past my comprehension. 

(A medley of voices is heard, forward right) 
153 



The Americans 



Mrs, Egerton. 
Here they come. 

A Voice. 

Cover his eyes, some of you. 

Mrs,. Egerton. 
Let's not be seen. 

(She starts back for the door, centre right) 

Mrs. Orr. 

But we can't talk in there. 

Mrs. Egerton. 
I'll slip away. 

(They go out centre right. Amid laughter and a 
confusion of voices Ralph Ardsley and a fellow- 
townsman enter forward right leading Gov- 
ernor Braddock, ivhose eyes are blindfolded. 
Following these come Donald Egerton, General 
Chadbourne, Bishop Hardbrooke, members of 
the Governor s staff in uniform, and other 
guests) 

Governor Braddock. 

You'll pay for this, gentlemen, you'll pay for this. 

Ralph Ardsley. 

Further, Great Master? 

154 



The Americans 



(Egerton points back toward the centre of the 
hall. Himself and the group about him remain 
more in the foreground) 

Egerton. 

That will do. 

{They remove the handkerchief from the Gov- 
ernors eyes) 

Governor Braddock. 
Hi yi! 

Ralph Ardsley. 

You see you wake in Paradise. 

First Guest. 
Didn't expect it? 
{Laughter) 

Bishop Hardbrooke. 

Your incorruptible administration. 

First Staff Member. 

You mean to tell us that you planned all this? 

Egerton. 

No, I conceived it, Weston; it's alive 

As I hope to show you. But more of that anon. 

{Calls back to the Governor) 
Does it meet your expectations? 

155 



The Americans 



Staff Members. 

(Who have gone rear) 
Splendid ! Splendid ! 

Fellow-Townsman. 

And in the second story he's got his mill. 

Second Staff Member. 
(To Egerton) 
You don't have strikes up there? 

Governor Braddock. 

Well, Egerton, 
This is the grandest thing I ever saw. 

Egerton. 

I made my mind up, Braddock, years ago 

That when I'd sawed my fortune out of lumber 

I'd build a mansion where a man could see 

Just how I'd done it, starting with the raw, 

The standing timber, every phase of it; 

A sort of record of these busy times: 

For they won't last forever, these great days. 

General Chadbourne. 

We never see the giants till they're gone. 

Bishop Hardbrooke. 

The day will come when we'll appreciate them. 

156 



The Americans 



Ralph Ardsley. . 

Three cheers for one of them. 

Guests. 

Hurrah! Hurrah! 

Egerton. 

(Goes back a little, the group following him, and 
points right rear) 
Back there you see the swamper clearing brush, 
Man's first assault upon primeval forests. 
And then the feller with his broader stroke 
Hewing a way for apple trees and cities, 
And incidentally moving on himself. 
And here you see my teams. And, by the way, 
They talk of how the horse has followed man 
In his march across the ages, but the tree 
That sheltered the lost saurian, think of that! 

Governor Braddock. 

You must have been a tree in some past life; 
You seem to love them so and understand them. 

Egerton. 

There's nothing in this world so beautiful 
As a pine forest, gentlemen, just at dawn; 
The infant breathing of a million needles. 
It's like our organ, Bishop, those soft tones. 
(Comes forward) 

157 



The Americans 



Bishop Hardbrooke. 

He ought to have lived in old cathedral days. 

Egerton. 

And here the rising rollways; then the drive, 
The river man. 

{Points across left) 

Governor Braddock. 

Come out to get a view, 
A broader view. 

Third Staff Member. 

You had men pose for this? 

Egerton. 

I'm following the tree. 

Fourth Staff Member. 
That fellow's face. 

Egerton. 

These 'broader views' don't interest me much. 

Governor Braddock. 

And you think this idea's capable of extension? 

Egerton. 

How do you mean? 

158 



The Americans 



General Chadbourne. 

{Returning from a word with the Butler, to 
Ardsley who comes to meet him) 
I don't see what's the matter. 



Governor Braddock. 
A while ago you said- 

Ralph Ardsley. 
O it's all right. 



Governor Braddock. 

You were the first Captain of Industry 
In all America to build a house. 
That has a meaning in it. 

Egerton. 

That's what I said; 
That has the least relation to the land. 

Ralph Ardsley. 

This snow you'll see will bring them to their senses. 

Governor Braddock. 

Suppose you'd made your fortune out of copper? 

First Staff Member. 

Yes, we all build our houses out of timber. 

159 



The Americans 



Second Staff Member. 
Or cotton? 

Guests. 
Ha, ha, ha! 

Ralph Ardsley. 
Or oil? 

Several. 
Yes. 

Ralph Ardsley. 

How would you spiritualize the oil business? 

Egerton. 

Ardsley here wants to quote me in his paper. 

General Chadbourne. 

The Lumber King upon the late decision. 

Egerton. 

It's Art, not rebates, that I'm speaking of. 
Couldn't I show my derricks on the walls? 
And back there red-skins striking fire from flint? 
Then our forefathers with their tallow-dips 
Watching the easy drills slip up and down? 
The tanks here — Ah, you laugh, you dilettanti. 
I'll tell you gentlemen what the trouble is: 

1 60 



The Americans 



You're frightened by our natural resources, 
And you despise the life of your own land, 
The crude, tremendous life we're living here. 
The force is too much for you. You want polish. 

I can prove it to you. 

Ralph Ardsley. 
Now you'll get it. 

Egerton. 

Yes, Braddock, there's that Capitol Commission. 
I'd be ashamed. 

Governor Braddock. 

1 knew 'twould come. 

Egerton. 

And we 
Breathing the electric air of this great West, 
As rich in life as timber, herds and hops, 
Wheat fields and mines, and all these things to be 
Raised and translated by the brains of men. 
Think of a State dotted with lumber camps 
And buzzing day and night with saws and saws, 
And as far as the North Pole from old world cus- 
toms, 
Wearing a capitol with Grecian columns 
With an old Roman Justice on her comb! 
You'd scorn to come here in a gaberdine 

161 



The Americans 



Made by some dago in the days of Pompey. 
And yet you dress the State up in these things. 
No independence. 

Ralph Ardsley. 
Governor ? 

First Staff Member. 
Call the troops! 

Egerton. 

I'd rather cut the timber of this land 
And coin its spirit in a thing like this 
Than be a Roman Caesar. 

Ralph Ardsley. 

Hip hurrah ! 
That's what I call a fellow countryman. 

Bishop Hardbrooke. 

You see we're all Americans down here. 

Second Staff Member. 

Now, Governor Braddock, show your stars and 
stripes. 

Governor Braddock. 

Yet you don't seem to dwell in unity. 
I recollect, and it's not years ago, 

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The Americans 



Receiving a petition, and a large one — 
Some six or seven thousand? 

Third Staff Member. 
About that. 

Governor Braddock. 

Demanding a withdrawal of some troops. 

Bishop Hardbrooke. 

We're not responsible for our lower classes. 

Egerton. 

(Significantly) 
You didn't withdraw them. 
(An embarrassing silence) 

Ralph Ardsley. 

(Slaps the Governor on the shoulder) 
Good American! 

Fo.urth Staff Member. 

(To Bishop Hardbrooke) 
Jesus of Nazareth was a foreigner. 

Governor Braddock. 

The Bishop would hardly say so though. 

Bishop Hardbrooke. 

And you, 
163 



The Americans 



You, Governor, do you go before the people 
With all you know? No secrets, not a one? 

Governor Braddock. 
O I'm not saying. 

Egerton. 

Editor Ardsley? 

Ralph Ardsley. 
Here. 

Bishop Hardbrooke. 

It eases the heart, brother, to confess. 

Ralph Ardsley. 

It's my stockholders, Bishop. 
{Points to Egerton) 

Egerton. 

General Chadbourne? 

General Chadbourne. 

I, Colonel, get my orders from above. 
{Points to the Governor) 

Governor Braddock. 
We all do. 

{Points to Egerton) 

164 



The Americans 



Ralph Ardsley. 
Egerton ? 

Egerton. 

Then come along. 
I've got some good Americans up here 
Who don't send in petitions. 

Governor Braddock. 
A model mill. 

First Staff Member. 
Non-Union ? 

Ralph Ardsley. 

They're united in the walls. 
{Laughter) 

Egerton. 

{As they start for the stairs) 
Never you mind, gentlemen, 'twill not be long 
Until the model that I've built up here 
Will be the model everywhere. 

Guests. 

{Led by Ralph Ardsley) 
Hurray ! 

{Attracted by the shouting, some ladies look in, 
forward right) 

165 



The Americans 



A Lady. 

They do have such good times. 
(They withdraw) 

General Chadbourne. 

{From the steps to the Butler) 
I'll be upstairs. 

{Seeing the hall empty, the young people who 
have looked in occasionally from the conserva- 
tory, enter and take possession) 

Ralph Ardsley. 

{From the landing) 
Hello, Gladys! 

Gladys Egerton. 
Hello, Ardsley! 

Ralph Ardsley. 

{Touching his throat) 
Stunning. 

Gladys Egerton. 
Thank you. 

{Ardsley disappears after the others. Mrs. Orr 
enters, forward right, and is later joined by 
Mrs. Egerton) 

Mrs. Orr. 

You surely have not spoken of this to him? 

1 66 



The Americans 



Mrs. Egerton. 

The other night I started to. 

Mrs. Orr. 

How could you! 

{Mrs. Egerton glances back uneasily into the 
room) 

Mrs. Orr. 

They're all right. Let's go here behind the pines. 

Mrs. Egerton. 

{Beckons to the Butler) 
Serve them the lunch now, Charles. 

{The Butler goes into the room, forward right. 
The two women pass left, where they are some- 
what shut in by the pines) 

Mrs. Orr. 

What did he say? 

Mrs. Egerton. 

And then — I don't know — something in his face — 
Perhaps the wonder that I knew would come 
That such a thing — If people only knew — 
Donald is not the hard unfeeling man — 

And knowing this 

{She hesitates) 

167 



The Americans 



Mrs. Orr. 

And knowing what, my dear? 

Mrs. Egerton. 

My heart rose up and I — I simply said 
That Harry had heard a sighing from the walls. 
I told him so much, for it's worried me. 
And he at once 

Mrs. Orr. 

{With spirit) 
I know. 'The pines 1* 

Mrs. Egerton. 
'The pines!' 

Mrs. Orr. 
I knew it! 

Mrs. Egerton. 

'The pines !' And walked the floor and laughed ; 
And such a heart-free laugh I have not heard 
In twenty years. 'The pines!' 

Mrs. Orr. 

'The pines!' Of course. 

Mrs. Egerton. 

Feeling 

1 68 



The Americans 



Mrs. Orr. 

Yes, yes! 

Mrs. Egerton. 

He had caught the very soul 
Of the forest. 

Mrs. Orr. 

And the triumph of it all! 

Mrs. Egerton. 

Ah, no one knows how many, many years 
Donald has dreamed of this, how all his thought 

And all his 

{Stands regarding the young people dancing) 

Mrs. Orr. 

One has but to look at it. 

Mrs. Egerton. 

Yet not for it as his, not that at all, 
But for the building of it. 

Mrs. Orr. 
Of course. 

Mrs. Egerton. 

And now 
That it has taken form you cannot think 

169 



The Americans 



How like a boy he is, how eagerly 
He flees here from the business of the day 
And how he walks about enjoying it. 
'Tis like the sea. When he is here alone 
The burden of his great business falls away 
And he is young again. I sometimes feel, 
Lying in bed at night and knowing he 
Is walking here alone, the lights turned low, 
And listening for the sighing of the pines, 
That somehow 'tis a woman he has made 
And that she whispers to him in these hours, 
Comes to him beautiful from out the pines 
After his long, long wooing of her 

Mrs. Orr. 

I see! 
Beautiful, beautiful! I see! I see! 
It needed that one breath to make it live. 

Mrs. Egerton. 
To Donald, yes. 

Mrs. Orr. 

Before it was a house, 
nd now a living thing. I see! I see! 
(Kisses the little pines) 

Mrs. Egerton. 

If one could only know it is not God 

170 



The Americans 



Whispering through the walls of our new home 
Some dreadful word, and yet with voice so low. 

Mrs. Orr. 

My dear, your words are perfect Greek to me. 

Mrs. Egerton. 

You know they say the men are suffering so. 
And Donald does not seem to see. 

Mrs. Orr. 

( Vaguely ) 
The men? 

Mrs. Egerton. 

Yes; Harry says that some are without bread. 
And we here — and the music and the lights. 

Mrs. Orr. 

{In utter astonishment) 
Why, Mary Egerton ! You do not mean — 
You cannot mean that that suggested this, 
That vulgar thing, this beautiful idea! 

Mrs. Egerton. 

If one could only help them, only help them ! 

Mrs. Orr. 

The hunger of a lot of stupid men 

171 



The Americans 



Who wish to tell your husband what to do, 

And he with a brain like this, and they with claws ! 

Mrs. Egerton. 

It all depends upon such little things, 
Things that we've never earned 

Mrs. Orr. 

{Mysteriously) 
Harry, you say? 

Mrs. Egerton. 

That fall right at our feet we don't know how. 
The chance of birth ! What right have I to this 
Who've never done one thing to help the world, 
While they who work their lives out 

Mrs. Orr. 

'Help the world!' 

Mrs. Egerton. 

Can't even have the food and clothes they need. 
People have asked me why — that's why it is 
I've done my shopping in the city lately. 
You meet them in the stores and on the streets. 
And they're so thin, so worn with the long strike. 
Just think of children crying for mere bread ! 
It's horrible. I thought this afternoon 
As I stood at the window looking out — 

172 



The Americans 



Through the first snow the motor cars came up. 

I don't believe they even noticed it. 

It means so little to them. It's just snow. 

But in the workers' homes — I just can't think 

Of God as looking down with unconcern. 

I couldn't love Him if I thought He could. 

Mrs. Orr. 

I don't know what we're ever going to do. 

Mrs. Egerton. 

If only some strong, gifted man would come 
And show us how, show us all how to live. 
We'd all be so much happier than we are. 

Mrs. Orr. 

I wish to goodness I could shut my ears 

And never hear that 'Help the world' again. 

You can't pick up a book or magazine, 

Even a fashion journal, or go out 

To see your friends, it seems 

{The men are seen coming down the stairs, the 
Governor and the Bishop on either side of 
Egerton. They are all laughing and having a 
good time) 

Mrs. Egerton. 

I'm very sorry. 
It isn't the place. But I've been so distraught. 

173 



The Americans 



Let us go in and put it all away. 

And you must never mention it. I can't bear 

To think of people talking. 

Mrs. Orr. 

Hear them laugh! 
I wouldn't live with such a wicked man. 

Mrs. Egerton. 

That isn't kind in you. 

Mrs. Orr. 

In twenty years 
We'll all be wearing grave-clothes. 

Mrs. Egerton. 
Sylvia ! 

Mrs. Orr. 

There'll not be one retreat where we can go, 

We ladies of the ancien regime; 

We'll all be out, with not a single place 

Where we can make the tables ring with cards 

And laugh and just be gay. Even the pines, 

The beautiful pines, are tainted, and the snow. 

The winter long I'll never dare go out. 

I'll be afraid I'll catch this 'Help the world' 

And come home hearing things. You precious 



goose ! 



174 



The Americans 



You just shan't give way to this silly mood. 
And at the moment when you have about you 
The money and the best names in the State; 
Just everything that mortal heart can wish. 

{They watch the men coining down the steps) 
You ought to be so proud. 

Mrs. Egerton. 
I am. 

(The piano stops) 

A Girl. 

(Who has been waltzing) 

pshaw! 

Mrs. Orr. 

Even the Governor — don't you see, when he's with 

Donald 
And when his wife's with you, how they both show 
How all they are and all they hope to be 
They owe to Donald? 

Mrs. Egerton. 

1 know, I know. 

A Young Man. 
Come on! 

Mrs. Egerton. 

And he's so good, so good in many ways. 

(The young people make for the conservatory) 
175 



The Americans 



Mrs. Orr. 

And yet so gay, so sensible with it all. 

Mrs. Egerton. 

It isn't that I'm ungrateful, Sylvia. 

I'm never done with thanking God for all 

The blessings that I have. 

Mrs. Orr. 

Children and wealth. 

Mrs. Egerton. 
And Donald, too. 

Mrs. Orr. 

really! 

A Young Man. 
Bring the score! 

Mrs. Egerton. 

1 can't help wishing, though, that he would see 
And do for others as he does for us. 

{They stand listening) 

Egerton. 

Just let your minds go out about the mountains. 

(A pause) 
Have you had too much punch, or what's the 
trouble? 
{Laughter) 

176 



The Americans 



Mrs. Orr. 

Just hear how joyous hearted! Promise me- 



Mrs. Egerton. 
(In alarm) 
He's telling them of the pines ! 

Mrs. Orr. 

What would you do? 

Mrs. Egerton. 

(Beckons to the Butler, who is passing) 
Tell Donald that I wish to speak with 



Mrs. Orr. 

Stop! 

Egerton. 

It's something, gentlemen, that we all have need of. 

Mrs. Orr. 

Dear, if you ever dare tell Donald this 

And pass this ghastly whisper to his heart, 

I'll be the Secret Lady of the Pines; 

I'll whisper something. What if Donald knew 

Who's kept the strike afoot? The great unknown 

Contributor to the Citizens' Relief? 

Who had twelve hundred dollars in the bank, 

A present from a Christmas long ago? 

Twelve hundred and twelve hundred ! 

177 



The Americans 



Mrs. Egertqn. 
It can't be! 

Mrs. Orr. 

We bankers' wives- 



Mrs. Egerton. 
A mere coincidence. 

Mrs. Orr. 

It's not ; he's checked it out. So ! If you care 
Nothing for Donald's happiness, / do. 

(She leaves Mrs. Egerton standing near the pines. 
Other ladies have begun to come in) 

Ralph Ardsley. 

What's underneath the forest? 

Mrs. Orr. 

(With a strange smile, calling back) 
I really will. 

Egerton. 

You give it up? 

Mrs. Egerton. 

My noble, noble son! 

General Chadbourne. 

He's waiting, gentlemen, till he finds the mine. 

178 



The Americans 



Egerton. 

The man of parts ! 

Several. 
Of course. 

Egerton. 

That's why I can't 
Take you down now. But when I find the mine 
And get the gold to puddling in the pots, 
If I can find me plastic metal workers 
That I can mould and hammer while they mould 
And hammer out my vision on the walls, 
I'll show you through some subterranean chambers 
Will set your eyes a-dazzle. In the dark, 
Lit by the torches in the miners' caps, 
You'll see the world of metals moving up 
Through human hands as here you see the tree. 
That's why my basement isn't finished yet. 

Cries, 

Good luck! Good luck! 

Egerton. 

I hope you'll be alive. 

(He leaves the group and comes forward) 

Governor Braddock. 
Magnificent conception. 

179 



The Americans 



Bishop Hardbrooke. 
A great man. 

Egerton. 

{To the Butler) 
Call them in, Charles. Have all of them come in. 

Governor Braddock. 

Metals, then trees, then mills, then books and pic- 
tures. 

Bishop Hardbrooke. 

Raw matter on its spiral up to spirit. 

Egerton. 

While we're at riddles, gentlemen 

{Ladies come in, centre and forward right) 

Egerton. 

Come right in. 
If you'll allow me, friends, suppose you stand 
Where you can have my forest in your eye. 

{He arranges them to face right) 
I don't see, ladies, how you ever endure 
The dulness of these males. We've been at riddles. 
Come in. I've kept my best wine for the last. 
{He steps back near the door, centre right) 
Suppose you'd made an Adam out of clay, 
Worked years to get it to your satisfaction, 

1 80 



The Americans 



And now you're looking at it, hands all washed 
And mind confronting, weighing what's been done. 
Suddenly you're aware of something standing by you 
That whispers in your left ear: 'Make a wish 
Within the power of God.' What would it be? 

Bishop Hardbrooke. 

To see it walk about the garden, brother. 

Egerton. 

Suppose your Adam was a pine-wood, Bishop, 
That couldn't walk. 

Mrs. Orr. 

{Ardently) 
Then just to hear it breathe. 

Egerton. 

A woman's intuition! 

(Looks to see who it is) 
Sylvia Orr! 

Bishop Hardbrooke. 
Sylva a forest. 

Egerton. 

An old friend of mine. 

(He gives a signal to some one) 
A clear day in the pine-wood. 

(Suddenly the hall is beautifully illuminated) 
181 



The Americans 



Guests. 
Ah! 

Egerton. 

With clouds, 
The dawn just breaking. 

{The hall becomes gray and shadowy) 
Ancient silence. 

Mrs. Egerton. 

{Half in terror) 
Donald! 

Egerton. 

Let us be quiet now. 

{The silence is broken by the ringing of a tele- 
phone bell in the room forward left) 

General Chadbourne. 
Ah! 

Mrs. Orr. 

{Across to Mrs. Egerton) 
Don't you dare ! 

( The Butler goes out to answer the telephone) 

Governor Braddock. 

This age of bells and whistles. 

182 



The Americans 



General Chadbourne. 

{Comes forward and takes his stand near the 
door forward left) 
Just in time! 

Egerton. 

They don't concern me. We are far away 
With quiet all about us and the woods. 
{The silence is intense) 

General Chadbourne. 

{Rehearsing his speech) 
. . . And it gives me pleasure to announce to you 
Upon the occasion of the opening 
Of your new mansion, Colonel Egerton, 
This bit of news, sir, from the military; 
And I offer it with our congratulations: 
The strike is over; 
The men have yielded and have gone to work. 

And all's been done without one 

{Enter the Butler hurriedly) 

General Chadbourne. 
Here I am. 

Butler. 

{Passing him) 
For Mr. Egerton. 

183 



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General Chadbourne. 
No! 

Butler. 

(In a low voice over the crowd) 
Mr. Egerton! 

General Chadbourne. 
Isn't that Captain Haskell? 

Butler. 

Mr. Jergens. 

(Egerton comes forward, making his way through 
the crowd) 

General Chadbourne. 
Butler! 

(The Butler goes to him and they talk) 

Ralph Ardsley. 

(Calls after Egerton as he goes out left) 
Good luck! 

(Calls to Chadbourne) 
This probably ends it. 

Governor Braddock. 

What's your opinion of these mysteries, Bishop? 

Bishop Hardbrooke. 

I'm one of those that simply stand and wait. 

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Governor Braddock. 

You don't believe in modern miracles. 

Bishop Hardbrooke. 

There are miracles and miracles, Governor Brad- 
dock. 
I try to keep elastic in these things, 
Steering a middle course with open mind. 

Ralph Ardsley. 

{Calls to Chadbourne) 
Needed just this to crown the time we're having. 

Bishop Hardbrooke. 

We are living in an age in many ways 

Without a parallel. I sometimes think — 

If I may say it not too seriously — 

Of those last days we read of when the world 

Goes on its way unconscious of the end. 

We give and take in marriage, eat and drink, 

And meet our friends in social intercourse, 

And all the while a Spirit walks beside us, 

Enters our homes and writes upon our walls. 

There are whispers everywhere if we could hear 

them; 
And some of them grow louder with the days; 
And pools of quiet ruffle and show storms. 
You, Governor, feel the popular unrest 
As it manifests itself in politics, 

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The shift of parties and of principles, 

Rocks that we used to think would never change. 

And brother Egerton in industry; 

He feels it. 

Egerton. 

(Appearing at the door, excited, and keeping back 
so as not to be seen by the people) 
Chadbourne ! 

(The General joins him and they disappear) 

Bishop Hardbrooke. 

I sincerely hope 
We're on the eve, however, of a day 
When trouble-makers in the ranks of Labor, 
Not only here in Foreston but elsewhere, 
May find it to their interest to respect, 
Nay, reverence as a thing ordained by God, 
The right of men to earn their daily bread, 
As well as profitable to obey the laws 
Without the unseemly presence of armed men. 

(There is a clapping of hands. General Chad- 
bourne appears just inside the door and beckons 
to Ardsley, who goes in to him) 

Bishop Hardbrooke. 

And I will take occasion here and now 

To say what you've been thinking all this while, 

And in the presence of the man himself: 

We are fortunate, my friends 

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Ralph Ardsley. 

{Appears and calls to one of the guests farther 
back) 
The Governor. 

Bishop Hardbrooke. 

In having at the helm of our great State 
One who loves order more than he loves votes. 
{General clapping of hands) 

Several. 
Good ! 

Guest. 

{In a low voice over the crowd) 
Governor ! 

Several. 
That's good! 

( The Governor bows) 

Cries,. 

Speech ! Speech ! 

Governor Braddock. 

My friends, 
I quite agree with the Bishop. 

Several. 
Ha, ha, ha! 

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Governor Braddock. 

I don't mean in his estimate of me. 

{More laughter. The Governor catches sight of 
the guest beckoning to him) 

Governor Braddock. 

But here's my better half. You might ask her. 
Pardon me till I see 

Ralph Ardsley. 

{Calls urgently to the Bishop in a voice that is 
barely heard) 
Go on! Go on! 

Bishop Hardbrooke. 

Society, my friends, is like this house, 
This mansion that we all so much admire. 

{Ardsley stands impassive till the Governor has 
gone out and the Bishop has again got the 
attention of the people, then goes quickly into 
the side room) 

Bishop Hardbrooke. 

Imagine what a state of things we'd have 
If every wooden fellow in these walls, 
Not only here but in the mill upstairs, 
Should lend his heart to tongues of discontent 
Until his very tools became a burden. 

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A Voice. 
Anarchy. 

Bishop Hardbrooke. 

Very true. Where would this be, 
This beautiful thing that Colonel Egerton 
Has built with so much labor and so much taste? 
And out there in the world where we all dwell, 
Where all of us have places in the walls, 
Some working with their hands on farms, in mines ; 
Some building; some at forges; at machines 
Weaving our garments; others more endowed 
Loaned to us from the higher planes of being, 
Men of the Over-Soul, inventors, dreamers, 
Planners of longer railroads, bigger mills, 
The great preparers for the finer souls 
That build the dome, the finishers of things, 
Prophets of God, musicians, artists, poets, 
As we've all seen how Colonel Egerton 
In his third story has his books and pictures — 
Suppose a bitter wind of discontent 
Should shake the great walls of this social order, 
Set the first story men against the second, 
The second against the third, until the mass, 
Throwing their tools down on the world's great 

floor, 
Should clamor up the dome for pens and brushes, 
Shutting their eyes to the cold facts of life 
That we climb up Life's ladder by degrees — 

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(His attention is attracted for a moment to a 
group of men that has been collecting forward 
centre, evidently concerned with whatever it is 
that is going on in the side room) 

Bishop Hardbrooke. 

(Recovering himself quickly) 
But I'm afraid, my friends — — 

Several. 

Go on ! Go on ! 

Bishop Hardbrooke. 

I'm wasting good material for a sermon. 

A Man's Voice. 
Pearls before swine. 

Bishop Hardbrooke. 
I started to say brethren. 
(Laughter) 

A Lady. 

(In the foreground) 
Isn't he just too bright for anything! 

Bishop Hardbrooke. 

But now 

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The Americans 



A Man. 

{Joining the group) 
What's up ? 

Bishop Hardbrooke. 

To come home to the task 
That brother Egerton lays upon our ears. 
We have all of us read stories and seen things. 
(Laughter) 

A Voice. 

But ghosts of trees? 
(General laughter) 

Bishop Hardbrooke. 
That, I admit, is rare. 

(Mrs. Egerton, who, since the ringing of the tel- 
ephone bell, has shown an increasing anxiety 
as to the message that has come, unable longer 
to contain herself, comes hurriedly forward 
through the people) 

Bishop Hardbrooke. 

Don't let us scare you, sister Egerton. 

(Laughter. The people turn just in time to see 
Governor Braddock, General Chadbourne, and 
Ralph Ardsley with overcoats on and hats in 
their hands, stealing across to get out forward 
right. Mrs. Egerton hurries into the room 
from which they came) 
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The Americans 



Ralph Ardsley. 
It's nothing. 

( The three go out) 

Voices. 

What's the matter? What's the matter? 

Pale Lady. 

It's something terrible, I know it is. 

Lady in Black. 

We always have to pay for our good times. 

{George Egerton and Gladys Egerton come 
quickly from the conservatory and enter the 
side room) 

Elderly Lady. 

I shouldn't wonder if those horrid strikers 
Were burning the mill. 

Lady in Black. 

Or may be some one's hurt. 

Lady with the Conspicuous Coiffure. 
Provoking, isn't it? 

Fat Lady. 

What would we better do? 

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Young Matron. 
{Calling out) 
Please tell us what's the trouble. 
{A silence) 

Pale Lady. 
I shall faint. 

Bishop Hardbrooke. 
{Coming forward) 
It has been suggested, friends, in view of this 
Personal something that has happened here — 
I don't know what it is, but we all know 
In trouble how we like to be alone. 
Later I'll call them up and for us all 
Extend our sympathy when we know the cause. 
{There is a movement of people departing) 

Pink Lady. 

I wonder who it is? 

Fat Lady. 

They've shut the door. 

Lady with the Conspicuous Coiffure. 

'Twas more like anger; didn't you see his face? 

Lady in Black. 

When everything was so, so beautiful! 

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{They vanish with the other guests. A minute 
or so later the Butler enters, right rear, and 
walks as though dazed through the empty hall) 

A Maid. 

{Appearing right rear) 
Charlie ! 

Second Maid. 

{Appears beside her) 
What is it? 

Butler. 

{Without turning) 
Trouble at the mill. 

First Maid. 
Charlie ! 

Butler. 

That's all I know. 

Second Maid. 
A riot? 

Gladys Egerton. 

{Appearing forward left) 
Gone I 
Father, they've gone! 

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George Egerton. 

{Comes in quickly) 
Look in the rooms. 
(Goes rear) 

Gladys Egerton. 

(Looks in the room forward right) 
They've gone! 

George Egerton. 

(Calls into the conservatory) 
Chester! Marjorie! Well, I'll be damned! 

Gladys Egerton. 

I hate him, O I hate him! 

George Egerton. 
That's what comes! 

Gladys Egerton. 
What will we ever do! Just think of it! 

George Egerton. 
(To the Butler) 
Why do you stand that way? 

(Comes to the door forward left) 
O do shut up, 
Mother. 

(Donald Egerton comes in, putting on his over- 
coat) 

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The Americans 



Mrs. Egerton. 

(Following him) 
Remember, Donald, he's our son. 

George Egerton. 

Always defending him! You make me sick. 

Mrs. Egerton. 

You've always said you never in your life 
Lost hold upon yourself. 

Gladys Egerton. 
No dance to-night. 

Egerton. 

(To the Butler) 
Tell Jack to bring the car to the front door. 
(The Butler goes out centre right) 

George Egerton. 

Wait, father, till I get my 



(Starts for the room forward left) 

Mrs. Egerton. 

If he's done it — 
He has some reason, Donald. And you know 
Jergens has never liked him. 

(Harry Egerton comes in right rear, his hat and 
shoulders covered with snow) 
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The Americans 



Mrs. Egerton. 
Harry! Harry! 

(She hurries to him and embraces him) 

Harry Egerton. 
Mother! 

Mrs. Egerton. 
My son! 

Harry Egerton. 
I'm sorry. 

(George Egerton reappears) 

Gladys Egerton. 

I just hate you! 
You selfish thing ! See what you've done ! 

Harry Egerton. 
I'm sorry. 

George Egerton. 
(With a sneer) 
He's very sorry, sister. 

Egerton. 
A pretty son ! 

Harry Egerton. 

I hadn't the least intention, father- — — 

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George Egerton. 
Damn you! 

Harry Egerton. 
Who 'phoned it in? 

Mrs. Egerton. 

What is it you've done, Harry? 

George Egerton. 

{To the Butler and the Maids who have ap- 
peared at the doors) 
Get away from there! 

Harry Egerton. 

Father 

{Egerton tosses his overcoat into the side room) 

Mrs. Egerton. 

Harry, is it true 
You kept the men from going back to work? 

Harry Egerton. 

I wanted to have a talk with father first. 

Egerton 

SJmJ 

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The Americans 



George Egerton. 
(To his mother) 
There ! 

Mrs. Egerton. 

But hear him, Donald. 

Harry Egerton. 

All my life 
I've wanted to say something to you, father; 
Especially since I went to work. You once, 
When I came home from college, you remember, 
And hadn't made my mind up what to do, 
What my life work should be 

Egerton. 
A pretty son! 

Harry Egerton. 

We talked together and you said that now 
Three things lay open to me, that I could choose 
And that you'd back me up. First, there was Art. 
And though you didn't say so, I could see 
You'd have been glad if I had chosen that. 
I had a talent for it, so you said, ■ 
And I could study with the best of them. 
You'd set aside a hundred thousand dollars; 
And I could finish up by travelling, 
Seeing the beautiful buildings of the world ; 
That I could take my time, then settle down 
And glorify my land : that's what you said. 
Then there was Public Life. You'd start me in 

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By giving me the Courier. That, you said, 

Would give me at once a standing among men 

And training in political affairs. 

And that if I made good you'd see to it 

I had a seat in Congress, and in the end 

That probably I'd be Governor of the State. 

And then you paused. You didn't like the third. 

Business, you said, was an unpleasant life. 

'Twas all right as you'd used it, as a means, 

But as an end — And then you used words, father, 

That changed my life although you didn't know it — 

'Business, my son, is war; needful at times, 

But as a life, — you shook your head and sighed. 

With that we ended it, for some one came 

And I went out. Six years ago last June, 

The seventh of June ; I can't forget the day. 

The sun was shining but a strange new light 

Lay over everything. All of a sudden 

It dawned upon my mind that I'd been reared 

Inside a garden full of flowers and trees, 

And only now had chanced upon the gate 

And stepped out. There was smoke upon the skies 

And a rumbling of strange wagons in the street. 

I was afraid. For every man I met 

Seemed just about to ask, 'What side are you on?' 

And I was twenty-one and didn't know. 

Egerton. 

You seem to have found out since you've been away. 

200 



The Americans 



Harry Egerton. 

I'd always thought 'twas garden everywhere. 
I walked on up the river and sat down 
Upon the logs up there, and night came on. 
And in the waters flowing at my feet 
The lighted land went by, cities and towns 
And the vast murmur and the daily life 
Of those that toil, the hunger and the care. 
And in my heart I knew that it was true, 
That what you said was true. And I came back 
Filled with such peace as I had never know^n. 
Til enter business, father.' And I did. 
I started at the bottom in the mill 
Helping the engineer, and from the saws 
Carried the lumber with the other men. 
Then in the yard. You always praised my work. 
I'm in the office now at twenty-seven, 
And Secretary of the Company. 
I think I know the business pretty well. 

You've said so. But somehow = 

{He pauses) 

Mrs. Egerton. 
What is it, Harry? 

Harry Egerton. 

In Public Life, if I had chosen that, 

And after six years' work that you approved, 

If one day I had come 

201 



The Americans 



Egerton. 

You want the mill. 

Harry Egerton. 

'Father, I can't go on; my way is blocked 
And all my hopes are falling to the ground/ 
There's nothing, not one thing you wouldn't have 

done. 
Or if I had a building half way up, 
My masterpiece, a mighty capitol 
That finished would be known throughout the land, 
And I had met with interference, men 
Who had no vision — you know what I mean — 
And I had come to you, 'Father, I'm thwarted/ 

I can see with one sweep of your hand 
How you would clear the skies. 

Egerton. 

You want the mill. 

Harry Egerton. 
Yes, father. 

Egerton. 

1 thought so. 

Harry Egerton. 
I want the mill. 

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The Americans 



George Egerton. 

And thought you'd blackmail father. 

Harry Egerton. 

Listen to me! 
For probably in all my life I'll never 
Speak to you as I'm speaking now, my father. 

Mrs. Egerton. 

Donald, I beg of you 



George Egerton. 
Well, 111 be 



Mrs. Egerton. 
George ! 

Harry Egerton. 

In these six years for one cause or another 
There've been three strikes that have cost the Com- 
pany thousands 
In money, to say nothing of those things 
That all the money in the world can't buy. 
Now let me ask, my father, if this loss, 
Instead of springing from these strikes, had come 
Through breakdowns of the machinery, or in the 

camps 
Through failure to get the timber out in time, 
Wouldn't you have dismissed the man in charge? 

203 



The Americans 



Then why do you let Jergens run the mill ? 
Hasn't he failed, and miserably, with the men? 

George Egerton. 

What have you to do with it? 

Egerton. 

I'll attend to this. 

{George Egerton walks away and stands by the 
pine trees, picking off and biting the needles) 

Harry Egerton. 

Is it because the earnings have increased? 
Think what it's cost you, father. In every mill 
Jergens has touched he's left a cursing there 
That's all come back on us. Why, my father, 
Our name's become a by-word through the State, 
'As hard as Egerton.' And when I think 
Of what might be, the good-will and the peace, 
The happiness! There's not the least excuse 
For this cut in wages, father, and you know it. 

Egerton. 
Urn! 

Harry Egerton. 

You can't help but know it. You've the books; 
You know what you've been making. But that 
aside : 

204 



The Americans 



To come to what I would say: You've won this 

strike. 
You have the men in your power and you can say, 
'Go back,' and they'll go back. But you won't 

do it. 

Egerton. 
Won't I? 

Harry Egerton. 

Will you, when you know you're wrong? 
When you know you're losing friends who love 

what's right? 
Think of the sentiment against you, father. 
No, father, you don't know what's going on. 

Egerton. 

It seems I don't. 

Harry Egerton. 

If you knew how they live 
And the hard time they have to get along. 
It isn't fair, my father, it isn't fair. 

Gladys Egerton. 

{In tears, to her mother) 
Yes, you don't care. 

Harry Egerton. 

Father, you love this land. 
205 



The Americans 



There's never been a day in all your life, 

If there'd been war, you wouldn't have closed the 

mill 
And gone and died upon the field of battle 
If the country had called to you in her need. 
And I can see you how you'd scorn the man, 
If he were serving as a General, 
Who'd keep his rank and file as poorly fed 
And ragged as he could. 

(The telephone bell rings) 

Gladys Egerton. 

They're calling up 
To know about it! 

George Egerton. 

(Starts for the room, then stops) 
What shall I tell them, father? 

Gladys Egerton. 

O have them come back, papa, have them come 
back! 

Egerton. 

(Keeping his eye on Harry) 
Tell them what you please. 
(George goes out) 

Harry Egerton. 

Father, buy Jergens out. 

206 



The Americans 



Gladys Egerton. 

{Calling into the room) 
Tell them it's all right, brother, that it's nothing. 

Harry Egerton. 

Give him his price and let him go his way 



Egerton. 

{Calling toward the room) 
A misunderstanding. 

Harry Egerton. 

And let me run the mill. 
And let us see, my father, you and I, 
If we can't make that place of work down there 
As famous for its harmony as this house. 
A land is not its timber but its people, 
And not its Art, my father, but its men. 
Let's try to make this town a place of peace 
And helpfulness. What do you say, my father ? 

Egerton. 

And that's your life work! 
{Gladys goes into the room) 

Mrs. Egerton. 

{Approaching him) 

Donald 

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The Americans 



Egerton. 
Go away. 

Mrs. Egerton. 

You've asked me why it is I cannot sleep. 
It's that, Donald, it's that ! Give him the mill. 
They're human beings, Donald, like ourselves. 

Egerton. 

And you've been planning this! 

Harry Egerton. 

I had hoped, my father, 
That things would so arrange themselves that I — 
That you would make me manager of the mill. 

Mrs. Egerton. 

Donald, it's your nobler self you hear. 

Egerton. 

(Looks at him a long time) 

What a fool 

(Turns away) 

what a fool I've been! 
(Walks about) 

Voices of George and Gladys. 
The mine! Father! 

(They come running in) 
The mine! A rumor that the mine's been found! 

208 



The Americans 



Egerton. 
Who is ft? 

George Egerton. 

I don't know. They're on the wire. 
{Egerton goes out) 

George Egerton. 

All over town, they say. 

{Brother and sister wait near the door, tense, lis- 
tening) 

Mrs. Egerton. 
{With a sigh) 
Everything ! 

Gladys Egerton. 

{Under her breath) 
George, 
Think of the things we'll have! 

George Egerton. 
Be still! 

Mrs. Egerton. 

{Turns and looks at Harry, whose face shows 
the sadness he feels at his father s refusal) 
Harry. 
Harry, are you well ? 

209 



The Americans 



Harry Egerton. 

Yes, mother. 
{A pause) 

Mother 

{Distant cannon are heard) 

George Egertqn. 
Hark! 

Gladys Egerton. 

{Starting back through the house) 
The mine ! the mine ! 
{The servants appear) 
Father has found the mine! 
{Further booming is heard) 

George Egerton. 

There go the guns! They're celebrating, father! 
{He starts for the stairs and goes bounding up 
three steps at a time) 

Gladys Egerton. 

{Calling after him) 
We'll have them back and announce it ! We'll have 
them back! 

Harry Egerton. 

Mother, I've found the mine. 

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The Americans 



Gladys Egerton. 

{Whirling round on her toe) 
Now, now you see! 

Harry Egerton. 

This morning on the mountains. 

Mrs. Egerton. 
Can it be! 

Gladys Egerton. 

{Comes running forward) 
I'll have my car now, won't I, daddy, daddy? 
{She disappears into the room, forward left) 

Mrs. Egerton. 

{Strangely) 
I knew it! O I knew that He would come! 

{Turns upon her son a look of awe) 
Harry ! Harry ! 

Harry Egerton. 

Father must do what's right. 

Mrs. Egerton. 
You'll build a mill. 

Harry Egerton. 

The ground is white with snow. 

211 



The Americans 



(Egerton appears in the doorway and stands look- 
ing at his son) 

Gladys Egerton. 

(Clinging to his hand) 
What is it, papa? What's the matter, daddy? 

George Egerton. 

(Appearing upon the stairs) 
They've run the flag up on the Court House, father ! 

Egerton*. 

That's what it means! 

Harry Egerton. 

Father, I'll buy the mill. 

Egerton. 

That's what it means! 

Gladys Egerton. 
What, daddy? 

Egerton. 

You'll hold my men! 

Harry Egerton. 

I'll mortgage the mine and pay you, father. 

212 



The Americans 



Gladys Egerton. 
Oh! 

Egerton. 

And if I don't you'll back the men, eh? 

Gladys Egerton. 
Oh! 

(She backs toward George, who has come down 
the stairs) 

Harry Egerton. 

I'll pay you twice its value, father. 

George Egertqn. 

(At a word from Gladys) 
What! 

(Egerton drops his eyes for a moment and stands 
as though in deep thought) 

Mrs. Egerton. 

Be careful, Donald! 

Gladys Egerton. 
(To Harry) 
I hate you! 

George Egerton. 
(With a sneer) 
Big man! 

213 



The Americans 



Egerton. 

George, 
Get Jergens. 

George Egerton. 
(To Harry) 
Mill-hand! 

(Goes out left) 

Egerton. 

Tell him to lock the mill 
And have this notice tacked up on the gate, 
'Closed for a year.' 

Voice of George. 
Good! 

Gladys Egerton. 
Good! 

Egerton. 

Ill let her rot. 

Harry Egerton. 

And winter coming on! 

Gladys Egerton. 
I'm glad! I'm glad! 

214 



The Americans 



Egerton. 

War or submission, eh? 

Harry Egerton. 

(Goes to his mother) 
Mother. 

(Kisses her) 

Egerton. 

I'll show you 



Harry Egerton*. 

(Starting for the door) 
Father, you'll remember in the years to be 
How I came to you one November day 
And asked your help to give this country peace. 

Egerton. 

Go to your rabble! 

Gladys Egerton. 

(Breaks out crying) 
Think of it! 

Egerton. 

I'll show you 
How you can buy me and my property! 

Harry Egerton. 

(From back in the hall) 
Property was made for men. 

215 



The Americans 



Egerton. 

And don't you ever 
Darken that door! 

Harry Egerton. 

And you can't keep ft idle 
While men depend upon it for their bread. 
(He goes out) 

Egerton. 

(Roaring after him) 
You dare to lay your hands upon that mill! 
(He stands staring at the door) 

Mrs. Egerton. 

(W onderingly) 
It wasn't our son! It wasn't our son! 

(The cannon are heard in volley upon volley as 
of a town giving itself up to celebration) 

Egerton. 

(Calls into the room, left) 
Tell him to go right down, that probably 
There'll be an attack upon it. 

Gladys Egerton. 

(Shaken with sobs) 
Think of it! 

216 



The Americans 



Mrs, Egerton. 
(As before) 
That gleam about his brow ! And now he's gone ! 
(She wanders back in the hall as in a dream) 

Egerton. 

And to see Chadbourne Are you listening? 

Voice of George. 
Yes. 

Egerton. 

To Chadbourne that he has authority from me — 
From Egerton, to treat them all alike. 

Mrs, Egerton. 

(Vacantly j to her husband) 
What have you done, Donald ! 

Egerton. 

That I expect 
The mill defended, let it cost what may. 

Gladys Egerton. 

I hate him, O I hate him! 

Mrs, Egerton. 

(Who has come forward and stands facing him) 
What have you done ! 

217 



The Americans 



ACT IV 



THE LIVING MILL 



Scene: Inside the mill, showing in front a sort of 
half storeroom, half office shut in from the main body 
of the mill by a railing in the centre of which is a gate 
that swings in and out. Far back in this main body 
of the mill one sees a number of great gang saws from 
which off-carriers, with freshly sawed slabs and lum- 
ber upon their rollers, branch right from the main 
line that runs the full length of the mill. Through an 
opening in the far end, whence the logs are drawn up 
an incline to the saws, one sees as through a telescope 
a portion of the river and of the mountains on the 
opposite bank. Up toward the front, left, in this main 
body of the mill is a wide door that opens outside. In 
the foreground, within the space partitioned off by the 
railing, a pair of stairs, evidently connecting with the 
outdoors on the ground floor, comes up rear left. Cen- 
tre, against this left wall, a pole six or eight inches in 
diameter, and to all appearances only recently set, goes 
up through a hole in the roof. Upon the floor at the 
foot of the pole, from which two long ropes hang 
down, lies a large American flag partially strung upon 
the rope. Forward from the pole is a door which ap- 
parently is no longer in use, a strip being nailed across 

218 



The Americans 



it. About this end of the enclosure are piles of win- 
dow sash and kegs of nails. Centre rear, at right 
angles to the side walls, so that one sitting upon a 
stool may look back into the mill, is a long checkers' 
desk with two or three stools before it and with the 
usual litter of papers, books, and a telephone upon it. 
In the right wall, rear, where one coining up the 
stairs may walk straight on and enter, is a door con- 
necting with the main office. 

As the Scene opens, something very important seems 
to be going on in this main office. A crowd of men, 
workmen and militiamen together, are packed about 
the door, intent upon whatever it is that is transpiring 
inside. Forward, away from the croiud, a small group, 
mostly of militiamen, is gathered about two guards 
with rifles in their hands, who have evidently just 
come in. Back, beyond the railing and close to the 
crowd, a group of workmen about W es Dicey is en- 
gaged in a heated argument. And farther back in the 
mill, especially about the large door, left, are bodies of 
men talking together. As the Scene opens, and for a 
few minutes afterwards, some one up the pole is heard 
singing. 

Time: Saturday afternoon the week following the 
preceding Act. 

A Workman. 

(Comes from the crowd to the militiamen) 
Servin' the papers on the mine, you think? 

219 



The Americans 



Militiaman. 

He's too damn proud to play the constable. 

Second Militiaman. 

Maybe it's terms from Egerton. 

Third Militiaman. 

(To Fourth Militiaman, who has just come up 
the stairs with his shoulders hung with knap- 
sacks) 
Chadbourne's here. 

Second Workman. 

Egerton makes no terms till he's on top. 

Fifth Militiaman. 

He'll have his hands full. Seen the evening papers ? 
(He unfolds a paper and a group gathers about 
him) 

Cries. 

(Near the door) 
That's right! that's right! 

Third Workman. 

(From the edge of the crowd) 
What are they sayin', Mike? 

220 



The Americans 



Fourth Workman. 

(On the edge of the crowd, looking toward the 
group about Dicey) 
We can't hear nothin' with that racket there. 

First Militiaman. 

It's his lost sheep he's after. 

Second Militiaman. 
Let him bark. 

Fourth Workman. 

You've stood by us, boys, and we'll stand by you. 

Voice. 

(From back in the mill) 
Tell him we won't, no matter what he says! 

(The Sixth Militiaman comes up the stairs, with 
four or five bugles, and shows surprise to see 
the crowd gathered) 

Third Militiaman. 

(In the group about the paper) 
And Smith and Balding Brothers! 

Fourth Workman. 
Lemme see it. 

Fifth Militiaman. 

Give him a rouse. What say you. One, two, 
three. 

221 



The Americans 



Several. 

Hurrah for Harry Egerton! Hurrah! 

Voice. 

{Rear) 

Hurrah for the Living Mill! 

A General Shout. 

{Back in the mill) 
The Living Mill! 

Fifth Militiaman. 

I guess, by God, he knows where we stand now. 
{They join the crowd about the door. Jim King 
comes through the gate in the railing, followed 
by Rome Masters, who is considerably intoxi- 
cated) 

Jim King. 

And hug 'em round the neck, if I was you. 
That's what I'd do. 

Rome Masters. 

Now you just stop that, Jim. 

Jim King. 

Why did you tell Aug. Jergens that you would ? 

Rome Masters. 

I ain't said nothin' about backin' down. 
But I ain't nothin' agin him. 

222 



The Americans 



Jim King. 

There you go! 
It does beat hell. You just keep saying that, 
That you ain't nothin' agin him, and you'll see. 

Voice. 

(Near the door) 
Who's to be judge what's for the Public Good? 

Rome Masters. 

I ain't said that I wouldn't do the job. 

Jim King. 

(Stands on tip-toe and looks over the crowd, then 
turns back to Masters) 
Didn't you think and didn't I think and Wes 
That when they cut the pie we'd get our share, 
One big long table with no head and tail 
But all the boys the same, and everything 
Piled on it and divided? 

(The group about Dicey become more noisy) 

Voice. 

(From the crowd) 
Put him out! 

(Dicey comes from the centre of the group and 
catches sight of King, who beckons to him) 

First Workman. 

(From the group) 
If you don't like it, Wes, why don't you leave ? 

223 



The Americans 



Second Workman. 

{Following Dicey) 
Why in the hell don't you leave? We're free men. 
(Dicey, King and Masters walk over to the pile 
of sash j left) 

Third Workman. 

(Of the Dicey faction) 
Offer 'em coppers for their Union cards. 

Fourth Workman. 

And where's the mine that you was goin' to share? 

Fifth Workman. 

You want old Egerton to have it, eh? 

Voice. 

(Back in the mill) 
Bring on the Constitution and let's vote! 

Chris Knudson. 

(Comes out of the crowd) 
Don't use that name. 
(To the Dicey faction) 

Let's have no trouble, men. 
This ain't no time to quarrel among ourselves. 

(To the other party) 
Try to remember, boys, it's his name, too. 

(Suddenly there is a tremendous cheering by 
224 



The Americans 



those about the door. A militiaman hurries 
from the crowd, grabs a bugle from the Sixth 
Militiaman and, darting out centre, starts to 
blow it) 

Sixth Militiaman. 
{Excitedly) 
Don't do that! Here! 

Militiaman. 

{With the knapsacks) 
Don't do that! 

( The crowd begins to break up, many of the men 
climbing back over the railing into the mill 
proper) 

Militiaman. 

{Comes sliding down the pole) 
What's the trouble? 

Jim King. 

{Returning with Dicey and Masters) 
They're out for their selves, damn 'em ; we'll be too. 

Seventh Militiaman. 

{Coming away with two or three others) 
Young Egerton's pure gold if ever was. 

Wes Dicey. 

Don't make no move, though, Jim, till we see first. 

225 



The Americans 



(He separates himself from the other two, and 
they mingle with the men) 

Eighth Militiaman. 

That's just the way they did the old man's farm. 
We had a place and didn't want to sell. 
That made no difference. Eminent Domain. 
'Out of the way there, home!' 

Voice. 

(From back in the mill) 
What did he say ? 

Voice. 

(Near the door) 
Then if the Company can take men's lands 
To build their railroads through 

Second Voice. 

That's a good point! 

First Voice. 

And if you say the Law's the same for all, 
Then why can't we take theirs when we need 
bread? 

Fifth Militiaman. 

(Getting a group together) 
Be smoking when he comes out. 

226 



The Americans 



First Militiaman. 
Stamper! Kids! 

Third Voice. 
(Rear) 
What Egerton wants, that's for the Public Good! 

Chris Knudson. 

There, there you're not remembering it again! 
(General Chadbourne comes from the office ', fol- 
lowed by Captain Haskell, and after these 
Harry Egerton, Sam Williams, Harvey Ander- 
son, Buck Bentley, and others. The militiamen 
make a big smoke) 

General Chadbourne. 

You'll not lay hands on property in this State. 

Harry Egerton. 

The right of men to work is just as sacred 

As is the right of property, General Chadbourne, 

And more important to the general welfare. 

General Chadbourne. 

These gates have stood wide open here for weeks. 

Sam Williams. 

And on whose terms? 

227 



The Americans 



Workmen. 

That's the point; on whose terms? 

General Chadbourne. 

Of course you'd like to make the terms yourselves. 

Harvey Anderson. 
Why shouldn't they? 

Harry Egerton. 

What would you have men do? 

Harvey Anderson. 

You say the State's been fair with them. All right. 
But it ain't the State that feeds them, it's the Mill; 
And it ain't the State that clothes them, it's the 

Mill; 
And it ain't the State they think of when they think 
Of better homes hereafter, it's the Mill. 
And there ain't no fairness that ain't fair in here, 
And there ain't no freedom that ain't free in here, 
Though there ain't no use of saying that to you. 

Sam Williams. 
We have to live. 

General Chadbourne. 

{Ignoring Anderson, as he does throughout) 
Employers have the right 
228 



The Americans 



To buy their labor in the open market, 

And if you fellows here can't meet the price— 

Voice. 

(From the crowd) 
You'd have us starve? 

General Chadbourne. 

You'll have to step aside 
And give way to some stronger men that can 

Sam Williams. 

And you expect men to obey a law 
That gives no hope of anything but this? 

General Chadbourne. 

You'd been to work and you'd been satisfied 
If some outsiders hadn't come along 
And fired your ignorant minds. 

(Murmurs in the crowd) 

Chris Knudson. 

Hold your tongues, men. 

Harry .Egerton. 

Pardon me, General Chadbourne — 

Harvey Anderson. 

(To Buck Bentley) 
Land o' the free! 

229 



The Americans 



Harry Egerton. 

We are all of us outsiders in a way, 

Yourself as well as Harvey here and I. 

But in a way there's no such thing. We're men, 

And that which injures one injures us all. 

General Chadbourne. 

I'm here on duty; quite a different thing. 

Harry Egerton. 

What I have done I have done not without cause 
Nor hastily. 

General Chadbourne. 

You know yourself these men 
Would have been to work. 

Sam Williams. 
We'd had to 



General Chadbourne. 
There you are! 

Sam Williams. 

If it hadn't been for Mr. Egerton. 

Harry Egerton. 

Yes, probably they would. 

230 



The Americans 



Harvey Anderson. 
That's just the point. 

General Chadbourne. 
Then who is responsible? 

Harvey Anderson. 
They'd gone to work. 

Harry Egerton. 

For this, I am. But for conditions here 

General Chadbourne. 
(To Captain Haskell) 
Remember that. 

Workmen. 

No! We! We seized the mill! 

Harry Egerton. 
I led them. 

Buck Bentley. 

It was we unlocked the gates. 

Workmen. 

But we marched in, so we're responsible. 

Harvey Anderson. 

We won't dispute about who did it, partners. 

231 



The Americans 



There's glory enough for all. 
{Cheers) 

I'm in it too. 
(He laughs) 

Harry Egerton. 

But for conditions that produced this strike 
God knows and I know it was not these men. 
I only wish that that was farther off. 

General Chadbourne. 

If wrong's been done there's legal remedies. 

Harry Egerton. 

Conditions, General, that outreach the law. 

Sam Williams. 

For it's that 'open market' 



Voice. 

(From the crowd) 
Who makes the law? 

Sam Williams. 

Their legal right to buy the cheapest men 
And drive them just as hard and just as long 
As they can stand it. 

Buck Bentley. 

And no troops are sent. 

232 



The Americans 



Cries. 

{Some militiamen joining in) 
That's right! 

Workmen. 

No troops for us! No troops for us! 

{This cry is caught up by the crowd and is car- 
ried on back through the mill. Chadbourne 
looks at the militiamen and unbuttons his over- 
coat and feels about in his pockets) 

Harry Egerton. 

Pardon me, General, if I speak right out, 
But Fve seen wages lowered to buy lands, 
And I've seen bread taken from these men here 
To gamble with. There are some things, General 

Chadbourne, 
That can't go on. We've but one life to live 
And we just can't stand by and see some things 
And live. It's not worth while, it's not worth 
while. 

Buck Bentley. 

And while you're here I want to say a word, 
For possibly we won't see you any more, 
And they'll be asking of us up the State. 
I never thought of it 

General Chadbourne. 

{Handing Haskell a notebook) 
Take down their names. 

233 



The Americans 



Buck Bentley. 

Till Mr. Egerton made his talk that day; 
But it's a fact and it stares you in the face: 
When Companies are wronged, or think they are, 
They touch the wires and the troops are sent, 
But when the men are wronged, or think they are, 
It's 'legal remedies/ 

Sam Williams. 

That's well put, Comrade. 

Harvey Anderson. 

That don't mean anything. 

First Militiaman. 
(To Haskell) 
John Stamper. 

First Guard. 

I 
Guess you know me. 

Second Militiaman. 

And you can take mine, too. 

Harvey Anderson. 
Who ever saw the like of this before! 

Third Militiaman. 
Kelley. 

234 



The Americans 



Second Guard. 
And mine. 

Harry Egerton. 

A hundred years from now 
They'll write them in the larger book of Fame. 

Fourth Militiaman. 

This is the third time we've been out this year. 

Harvey Anderson. 
You look like Israel Putnam and Paul Jones. 

Buck Bentley. 

We came down here to see the square thing done; 
But it's got to work both ways. 

Sixth Militiaman. 
And mine. 

Seventh Militiaman. 
And mine. 

Harvey Anderson. 
(To Chadbourne) 
You're all right, partner, only you don't see 
The inside of this thing that's happened here. 
The day's gone by when two or three big men 
Could ride her to and fro for their own gain 

235 



The Americans 



And lay her up and starve the crew. That's past. 
We're going to take the flags down of the Kings, 
Kings of Lumber, Kings of Cotton, Kings of Coal, 
From one end to the other of this land, 
And we'll all be Americans, North and South 
And East and West until you touch the seas. 
And there's the thing that's going to fly the mast. 

(Points to the flag on the floor) 
And when she climbs you'll hear the guns go off 
Announcing a new Independence here. 

(Tremendous cheering) 

(Two militiamen are seen coming up the stairs, 
the one loaded with blankets, the other with 
ten or twelve rifles) 

General Chadbourne. 
(To Harry Egerton) 
And this is final, eh? 

Voice. 

(From the crowd) 
We'll hold the mill! 

Workmen. 

(Catching sight of the two militiamen) 
And the mine too! That's right! And the mine 
too! 
(Tremendous cheering) 
236 



The Americans 



Harry Egerton. 

If you have any way to guarantee 

That these men who have worked here many years 

And faithfully, as I know, will have their right 

To work respected and at an honest wage, 

And that while there are profits to be shared 

There'll be no starving time among these men 

General Chadbourne. 

Don't think because you're Mr. Egerton 

That you're immune. You'll find the laws the same 

Whether you're Mr. Egerton or not. 

{Starts for the stairs) 
If need be I'll call out ten thousand men. 

Voice. 

{Back in the mill) 
Bring on the Constitution and let's vote! 

Fifth Militiaman. 
( With the paper) 
You'll have your hands full if reports are true. 

Harry Egerton. 

We none of us can tell what men will do. 

The times are changing and the days bring light. 

General Chadbourne. 

You mean you'll stir up mutiny again ? 

237 



The Americans 



Harry Egerton. 

I'll see they get the truth, then let them choose. 
That is a right we all have, General Chadbourne. 

General Chadbourne. 

You'll have no chance to see them. 

{Goes down the stairs, the two guards leading 
the way) 

Harry Egerton. 

Very well. 
Just say to Governor Braddock it's with him. 
We'll keep right on at work. The gates shall be 
Open and the men shall come and go. 

Captain Haskell. 

(To two militiamen who are busy stringing the 
flag on the rope) 
Damn pretty men you are to raise a flag. 
You ought to have a red one. 

First Militiaman. 
Go on, Haskell. 

Second Militiaman. 

We'll see what kind of men dare take it down. 

Captain Haskell. 

Wait till Court Martial sits. 

238 



The Americans 



{Disappears down the stairs. There is a move- 
ment of the workmen back into the mill) 

Harvey Anderson. 
{Shouting) 
Now let's to work ! 

( The militiamen gather left, and to some of them 
the rifles, knapsacks, etc., are distributed. Buck 
Bentley, who has taken the bugles in his hands, 
walks to and fro) 

Harvey Anderson. 

You'd better be off, Bentley, don't you think? 
They'll turn Hell upside down to get that mine. 

Buck Bentley. 

He wanted to say something to me. 

Harvey Anderson. 

{Calls rear left to Harry Egerton, who is en- 
gaged with Dicey, a number of workmen being 
gathered about them) 
Partner ! 

{They stand silent, watching the group) 

Buck Bentley. 

Harry's too easy with him. 

239 



The Americans 



A Workman. 

{Leaving the group and passing rear, calls to An- 
derson) 
The same old sore. 

Harvey Anderson. 

You've noticed any change these past few days? 

Buck Bentley. 

In Egerton, you mean? Ain't it the strain 
Of breaking with his family? 

{Harry Egerton starts toward them, but Dicey 
keeps after him, the men following) 

Buck Bentley. 

{To Anderson, who has turned aside and half 
pulled from his inside pocket a legal looking 
document) 
What 

Harvey Anderson. 
His will. 

Harry Egerton. 
{To Dicey) 

It's a new day, my friend, a glorious day. 

Voice. 

{Back in the mill) 
'Twill soon be night! 

240 



The Americans 



Harry Egerton. 

Try to forget the past 
And everything except that we are men 
Working together for the good of all. 

Wes Dicey. 

That ain't the point though, Mr. Egerton. 

Sam Williams. 

You've got your vote, Wes, same as we have ours, 
You and your friends have. Why ain't that 

enough ? 
Or is it that you think the few should rule ? 

Wes Dicey. 

There's got to be good feelin' all around 

If it's to hold together as you say; 

It's got to be plumbed well. And I don't see, 

If it's to be a workers' commonwealth, 

How you can keep the mine out. Course it's yours 

And in a way you can do as you please, 

That is, if you was like most men you could; 

But bein' different, standin' for the right, 

We don't just see how you can say 'We'll keep 

The mine out and devote it to the Cause.' 

If the boys ain't the Cause, tell us what is. 

Maybe it's as we're ignorant and don't know. 

Harry Egerton. 

Please do not put things in this bitter way. 

241 



The Americans 



The Cause is what you've fought for all these years, 
A chance to live a freer, larger life. 
But in this struggle are you men alone? 
And shall we as we climb to better things 
Reach down no help to others, but hold fast 
To all we get? 

Several. 

No! No! 

Harry Egerton. 
Would that be right? 

Wes Dicey. 

Another point. For years and years we've had 
A Union here, and when the fight came on, 
'Twas as a Union that we made the fight. 
And Sam knows this is true, 'twas not so much 
The cut in wages, though, that took our strength, 
As 'twas their breakin' of the Union up 
As made us say 'By God, we'll fight or die/ 
Ain't that true, boys? 

Two or Three. 
That's true. 

Wes Dicey. 

And then you come 
And took the stand you did as they'd no right 

242 



The Americans 



To make slaves of us, closin' of the gates 

To make us knuckle down. And you said 'Come/ 

And the boys followed you, and here they are. 

And many of 'em, if I sound 'em right, 

Are wonderin' what we're here for. I'll ask Sam 

If he's in favor of the Open Shop. 

Sam Williams. 

We formed our Union, Wes, when we were slaves, 
Same as in war times armies are called out. 
But when the war is over they go back. 

Wes Dicey. 
'Go back.' 

Sam Williams. 

We're free men now. 

Chris Knudson. 

We've no foe now 
Except ourselves. 

Wes Dicey. 

All of which means you'll vote 
In favor of admittin' every man 
To full rights here. 

Harvey Anderson. 
Look here, pard 

243 



The Americans 



Wes Dicey. 
Are you Sam? 

Harvey Anderson. 

If it's the soldier boys you're knocking at, 
They don't intend to stay, most of them don't. 
But as I think they'll be invited to. 

{Cheers) 
Didn't they leave their Union? 

A Militiaman. 
The damned dog. 

Sam Williams. 

I mean to vote, Wes, for that Living Mill 
That Mr. Egerton has told us of. 
For that's the thing, or something like that thing, 
We've worked for all these years. And now it's 

come, 
A place where we can work and be free men, 
Having a say in things, as Harvey says, 
God help us if we can't get on as friends. 

{Jim King takes Dicey aside, where Masters joins 
them) 

Harry Egerton. 

{Coming to Bentley and the militiamen) 
I want to thank you, Bentley, and you men, 
I want to thank you for the help you've been. 
You've played the noblest part I ever knew. 

244 



The Americans 



Buck Bentley. 
We followed you. 

Harry Egerton. 

No. We have interests here, 
The rest of us have interests here; we've homes 
And families, and the fight was ours. But you, 
You'd never seen a one of us before. 
And you came here honorable men, and now 
You're traitors through the State, and mutineers. 

Buck Bentley. 
It's all right. 

Harry Egerton. 
Yes, indeed, it is all right. 

Fifth Militiaman. 
They'll be more, too. 

Sixth Militiaman. 

He'll never call them out. 

Harry Egerton. 

You've helped to make the history of this land, 
And there's not one of you will not be known 
And honored for it. 

A Militiaman. 

Half as much as you. 

245 



The Americans 



Harry Egerton. 

And now a little toast before you go. 

{Shakes hands with them) 
Bentley, Kelley, Stamper, and you all, 
Sam, and you, Harvey, Chris, and Mike, and Wes, 
You'll join us, you and Jim and Rome? 

{The three remain aside talking together) 

Harry Egerton. 

And you, 
And you back there, you of the Living Mill— 
For all time, shall we say it? 

Subdued Voices. 
For all time. 

Harry Egerton. 

{With a swift glance toward Dicey, King and 
Masters) 
And give our lives, if need be, for this thing? 

Subdued Voices. 

And give our lives, if need be, for this thing. 

Harry Egerton. 

This is a glorious day. 

Militiamen. 
{Leaving) 
So long! So long! 

246 



The Americans 



Harry Egerton. 

Wherever men get free they'll think of us. 

Workmen. 

So long! So long! 

Buck Bentley. 

And there was something else. 
The General came while you were speaking. 

Harry Egerton. 
Ah! 

Buck Bentley. 

Something about some bugles you said get 

Harry Egerton. 

Yes, I forgot. I meant to show you these 
That a Committee brought this afternoon. 

{Takes a paper from his pocket) 
Read them in the meeting, Harvey. 

Cries. 

Read them now! 

Harry Egerton. 

Some resolutions of the citizens, 

Who are glad we've gone on peaceably to work. 

And if at any time we need their help- 

247 



The Americans 



Sam Williams. 

( Taking a bugle and holding it up to the crowd) 
The citizens say blow these if we need help ! 
Because we've gone on peaceably to work. 

(Cheers) 
It's work, you see, that wins, comrades. 

Chris Knudson. 
That's right. 

Harry Egerton. 

I trust, though, that they'll never need to blow. 

Buck Bentley. 

'Twill set the land' on fire if they do. 

A Workman. 

The workingmen throughout the State will hear. 

Harvey Anderson. 

They'll blow in relay, pards, from sea to sea. 

(Harry Egerton stands and watches the militia- 
men depart. As Bentley goes down the stairs 
he turns and looks at Harry Egerton, who lifts 
his hand to his head in a sort of military 
salute) 

Chris Knudson. 

That's what they say about us, Wes, you know 

248 



The Americans 



That when the thing we've fought is taken away 
We'll fight among ourselves. 

Wes Dicey. 

(To Harry Egerton) 

I ain't a man, 
And never have been one, to set my views 
Against the boys' views. If they're satisfied 
And think the new way's better than the old, 
And if they'll vote for it, Wes and his friends 
Will have no grouch. 

Several. 

That's all right. 

A Voice. 

Then come on. 

Harry Egerton. 

To get along together, as Sam says, 
That's what we seek, my friend. The rest will 
come. 

Wes Dicey. 

It's for the boys I took the stand I did. 

(The workmen go back into the mill. Harry 
Egerton watches Dicey until he is lost among 
the men that pass out rear) 
249 



The Americans 



Harvey Anderson. 

(Who has been watching him) 
Partner. 

Harry Egerton. 

(Who has started to follow the men) 
What is it, Harvey? 

Harvey Anderson. 
What's this mean? 

Harry Egerton. 

We cannot be too patient with these men. 
It's a free mill we're trying to build, Harvey. 

Harvey Anderson. 
'Tain't that I mean. 

(Takes the will from his pocket) 

Why did you give me this? 

Harry Egerton. 

As a precaution, Harvey. 

Harvey Anderson. 

(To Jim King, who lingers about beyond the 
railing) 
We'll be there. 

Harry Egerton. 

If anything should happen to me, you know, 
My father would inherit everything. 

250 



The Americans 



Harvey Anderson. 
Yes. 

Harry Egerton. 
And God meant the mine for other things. 
And as administrators you and Sam 
And Buck I knew would carry on the work. 

Harvey Anderson. 

But why just now? Come on and tell me, partner. 

There's something up. You ain't been like your- 
self. 

There's something on your heart. What is it, 
partner? 

It ain't the faction? 

Harry Egerton. 

No. 

Harvey Anderson. 

About the mine — 
That lie they told is eating in your heart. 

Harry Egerton. 

Have I dene anything that you know, Harvey, 
That could have wronged the men or any of them? 

Harvey Anderson. 
You wronged them? What you mean? 

251 



The Americans 



Harry Egerton. 
In any way? 



Harvey Anderson. 

Why they'd die for you, partner. What you mean ? 

arry Egerton. 

Come here to-night when we can be alone. 
There are some things I want to tell you, Harvey, 
That you and Sam and Buck must carry out. 

Harvey Anderson. 

(Looks at him a long while, then lays his hands 
upon his shoulders) 
We're on the eve of seeing things come true 
And there ain't nothing that can stop it, partner. 

Harry Egerton. 

I don't know what I'd do without you, Harvey. 
(They go back through the gate in the railing 
and out through the great door, left, whence 
the crowd has passed. Rome Masters comes 
furtively up the stairs and looks about. He 
then comes past the sash to the door, forward 
left, and begins to pull off the strip that is 
nailed across it. He has just loosened it when 
Jim King appears upon the stairs and gives a 
low whistle. Rome Masters quickly joins him 
and together they hurry back through the mill 
252 



The Americans 



and out the great door, left. A moment later 
the First Guard comes up the stairs, followed 
by Ralph Ardsley and Bishop Hardbrooke) 

First Guard. 
I'll find him. 

Bishop Hardbrooke. 
If you please. 

( The Guard goes back through the mill) 

Bishop Hardbrooke. 

I don't like this. 
The atmosphere's too charged with victory. 

Ralph Ardsley. 

I don't believe they even know it's cold. 

{Looks about) 
It's wonderful the way he's handled things. 
It's that, I think, as much as anything 
That's won the confidence of the citizens. 
I was just sure they'd have a riot here. 

{He gets up on one of the stools before the desk 
and takes from his overcoat pocket a newspaper 
which he spreads out before him) 
I've thought about it, Bishop ; don't you think 
That that injunction Egerton got out 
Against the mine, considering everything, 
The public feeling — if he has good grounds 

253 



The Americans 



For claiming that his own men found the mine — 
Aside from the reflection on his son — 
A tactical mistake, don't you think so ? 

Bishop Hardbrooke. 
Best not allude to that. 

Ralph Ardsley. 
I think so too. 

{He reads the paper. The Bishop stands listen- 
ing to the indistinct noises that come from the 
crowd outside) 

Ralph Ardsley. 

And yet you can't blame Jergens very much. 
Something has got to happen pretty soon. 
Amalgamated's off again, I see. 

Bishop Hardbrooke. 

Who is this Harvey Anderson? 

Ralph Ardsley. 

He's the rough 
That kept the men from going back that day. 
Drew his revolver. Big man here now. You see 
He'd been out on the mountains with a cast, 
One of the men the Company had out. 
So it's quite possible, as Jergens claims, 
That Anderson found the mine. For gold these 
days — 

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To get possession of a mine like that — 
Men have been killed for less. 

Bishop Hardbrooke. 
But Harry 

Ralph Ardsley. 

That, 
That's what I can't get down me, his collusion— 

{Cheers outside) 
It's probably Anderson haranguing them. 
I don't myself believe that Harry'd do it. 

{Tremendous cheering) 
There's certainly enthusiasm there. 

Bishop Hardbrooke. 

What is it, Editor Ardsley? 

Ralph Ardsley. 
I don't know. 

Bishop Hardbrooke. 

What's it all mean? What's underneath it all? 

Ralph Ardsley. 

We're neither of us, Bishop, what we were. 
We've lost our power. Something's happening 
That we don't understand. 
{A pause) 

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And done by men 
That live right here and walk the streets and talk, 
Buy vegetables and pass the time of day. 
I tell you, Bishop Hardbrooke, you can't tell. 

Bishop Hardbrooke. 
{Half to himself) 
As though they had the Ark of the Covenant. 

Ralph Ardsley. 

If any one had said to me last week 

That that despondent crowd of shabby men, 

After six weeks of battle against odds, 

And beaten into silence, starved and cold, 

Had in them the capacity for this — 

Who was it said we're always in a flux, 

That nothing's fixed? We don't know anything. 

It's like a case of type ; to-day it spells 

Egerton and to-morrow M-o-b. 

To think of Donald Egerton at bay! 

Egad! 

Bishop Hardbrooke. 

These shouts once rose about the 
Church, 
But somehow we don't hear them any more. 

Ralph Ardsley. 

Don't think for a moment, Bishop, that you're 
alone. 

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We never had the tumult and the shout 
That you had in old days, but it's all the same. 
The 'Power of the Press'! It makes me laugh. 
If I could find a little farm somewhere, 
I'd sell my stock to Egerton and get out 
And let the world go hang. I'm tired of it. 

{Cheers outside) 
Yes, there's a ring about it you don't hear 
Even in Conventions. 

( The Guard enters the mill, hack left, and comes 
through the gate in the railing) 

Guard. 

In a moment. 

Bishop Hardbrooke. 
Thank you. 

( The Guard goes out down the stairs) 

Ralph Ardsley. 

What's your opinion of the trouble, Bishop? 

{To himself) 
To think of Donald Egerton at bay! 

Bishop Hardbrooke. 

We've had the matter up in Conference 
Several times. 

Ralph Ardsley. 
Yes. 

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Bishop Hardbrooke. 

But I somehow feel 
We don't get hold of it. The lower classes — 
They're going off. I don't believe it's Christ. 
You say they're leaving you; and General Chad- 
bourne — 
Two thirds, I think you said, of his command. 

Ralph Ardsley. 

Facing State's prison, too. 

{Cheers outside. The two men remain silent) 

Ralph Ardsley. 

And Egerton — 
They certainly have left him. I thought last night 
As I sat looking up toward that new home — 

{Cheers outside) 
They'll never light it up again that way, 
The way it was that day. Did you ever see 
Anything to equal that reception hall? 

Bishop Hardbrooke. 

What's in the boy that these men follow him, 
And all his life so quiet, almost timid? 

Ralph Ardsley. 

'What go ye out into the wilderness for to see?' 

Bishop Hardbrooke. 

Yes, if his cause were better. 

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Ralph Ardsley. 
There you are. 

Bishop Hardbrooke. 

But this audacious, this deliberate 

Stealing— though I hate to use the word 

This seizing of the mill 

Ralph Ardsley. 

Here he comes now. 
{He gets down from the stool) 
You do the talking, Bishop, the heavy part. 
(Harry Egerton enters) 

Bishop Hardbrooke. 
Harry. 

Harry Egerton. 
Bishop Hardbrooke 

Ralph Ardsley. 

You don't seem 
To mind the cold or anything down here. 

Harry Egerton. 
We have been busy 

Ralph Ardsley. 

I should think so. Yes 
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It's wonderful the way you've plunged right in 
To business. 

Harry Egerton. 
Yes. 

Ralph Ardsley. 

Things going pretty well? 

Harry Egerton. 
Yes. 

Ralph Ardsley. 
I'm glad. 

Harry Egerton. 
You sent for me. 

Ralph Ardsley. 
Yes. 

Bishop Hardbrooke. 

Harry, 
We've come to see if something can't be done 
To end this controversy and bring peace, 
An honorable peace to all concerned. 
A permanent state of strife is far from pleasant. 
There's nothing sadder in the life of man 
Than to see towns disrupted, classes arrayed 

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Against each other, to say nothing, Harry, 
Of this far dearer tie that's straining here, 
That pains us all far more than we can tell. 
We've often had these troubles in the Church, 
Mostly in the past, of course, men differing 
Upon some point of doctrine or government. 
And my experience is that at the bottom 
There's something that at first was overlooked, 
Then, in the strife that followed, overwhelmed. 
There's common ground, there must be in these 

things. 
Look at the world ; we pass along the street. 
We don't confront each other and block the way. 
Each yields a bit and so we all pass on. 
And in relationships it must be the same. 
We're one, my brother. 

Ralph Ardsley. 

Like our fingers here. 

Bishop Hardbrooke. 

And when we're not, when interests seem to clash, 
It's just as sure as Death or anything 
Some law of God is being tampered with. 
And so we thought we'd come 

Ralph Ardsley. 
And now's the time. 

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The Americans 



Bishop Hardbrooke. 

For, as you know, in town the feeling's growing 
That there's a sword impending over us 
Which the least breath will bring down on our 
heads. 

Ralph Ardsley. 

And not in the town alone, but the whole State — 
They seem to have their eyes upon us here. 
You've seen the papers how the strikes are spreading. 
The mills at Upton and the plant at Sawyer, 
And down the State there's Smith and Balding 

Brothers, 
Heacox and Knight, twelve hundred men gone out, 
Demanding unconditionally the mills. 

Bishop Hardbrooke. 

Think of it, Harry, think of what this means ! 

Ralph Ardsley. 

Not satisfied with wages any more. 

Harry Egerton. 
Pardon me. 

{Walks rear and listens) 

Bishop Hardbrooke. 

He doesn't listen to what I say. 

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The Americans 



Ralph Ardsley. 

Not that you are to blame for it, we don't say that. 

But probably without your knowing it 

A fire or something's going out of you 

That's kindling this industrial upheaval; 

For it's your name they've made the war-cry, Harry. 

Bishop Hardbrooke. 

He even smiled when you spoke of the mills 
Closing. 

Ralph Ardsley. 

I don't think he meant it so. 
His heart's out there, though, that's as plain as day. 

Bishop Hardbrooke. 

Harry, if these shouts mean a final step, 
A closing up of things which if once closed 
Will render of no use any labor of ours, 
I beg of you to call this meeting off, 
At least until we see what we can do. 

Ralph Ardsley. 

Postpone it, Harry, say till Monday morning. 
You know yourself how dangerous it is 
To wake men's hopes to a wild dream of power. 
They're never afterwards content with less 
Than that wild something that could never be. 

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Bishop Hardbrooke. 

Yes, brother, let the Lord's day with its peace 
Breathe on this quarrel. Why do you say too late? 

Harry Egerton. 

{Who has come forward) 
Because it's up there, Bishop, it's up there 
Above mere bread. 

Ralph Ardsley. 

What does he mean by that? 

Bishop Hardbrooke. 

I trust, my brother, that it is up there. 

Ralph Ardsley. 

We don't just see what it is you are trying to do. 

Harry Egerton. 
The statement I gave out last Saturday 



Ralph Ardsley. 

That was a week ago. 

Harry Egerton. 
Yes. 

Ralph Ardsley. 

And since then 
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Reports have come out that there's a move on foot 
To organize — I know not what to call it 

Harry Egerton. 

A Commonwealth of Workers. 

Bishop Hardbrooke. 
Then it's true! 

Ralph Ardsley. 

Your purpose then is to retain the mill? 

Bishop Hardbrooke. 
Purchase it? 

Harry Egerton. 

I don't know. We'll do what's fair. 
We've had to think first of supplying bread. 
That's left but little time for other things. 

Bishop Hardbrooke. 

But if the Company shouldn't choose to sell? 

Harry Egerton. 
That is with them. 

Ralph Ardsley. 

You mean you'll still hold on ? 

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The Americans 



Harry Egerton. 

That will be my advice, yes. 

Ralph Ardsley. 
But the Law. 

Bishop Hardbrooke. 
'Thou shalt not steal.' 

{Harry Egerton walks rear and listens^ 

Ralph Ardsley. 

Doesn't that beat the world! 

Bishop Hardbrooke. 

It's his association with these roughs. 

Ralph Ardsley. 

And they'll never dare lay hands upon them, Bishop. 
I tell you the Commonwealth's afraid to move. 

Bishop Hardbrooke. 

Has God no place in business, my young brother? 

Harry Egerton. 
{Returning) 
Yes, Bishop Hardbrooke, and it's very strange 
You've never thought of that until to-day. 

Bishop Hardbrooke. 

A hidden meaning couched in that, I think, 

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The Americans 



Harry Egerton. 

This is the first time you've been in this mill 
Or near these workingmen in all these years. 
And now you come to plead my father's cause. 

Bishop Hardbrooke. 
I come for peace. 

Harry Egerton. 

Then why not weeks ago 
When there was strife? You heard the cry of the 

poor 
For six weeks, Bishop, and you never came. 
Why wait until the starving time is past? 

Bishop Hardbrooke. 

I've rather arduous duties, my young brother. 
Besides my Church work there are Boards and 

Boards 
And meetings of this Charity and that 
That you in business know but little of. 
My interest in the poor is not unknown. 

Harry Egerton. 

You've been in father's confidence for years. 

Bishop Hardbrooke. 
I'm proud to say I have. 

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Harry Egerton. 

There's seldom passed 
A Sunday that he's not been in his pew. 

Bishop Hardbrooke. 
A creditable record. 

Ralph Ardsley. 
I should say. 

Bishop Hardbrooke. 

And one that any son might emulate 
With profit, I should think. 

Harry Egerton. 

It's very strange 
My father doesn't know some things are wrong. 

Bishop Hardbrooke. 

You mean he doesn't see things as you do. 

Harry Egerton. 

Yes, all my life I've wondered when I've seen 
Check after check go out with father's name 
To help along some Mission over sea 
Or roof some rising Charity at home, 
I've often wondered that he's never seen 
Those little shacks upon the hill out there 
Nor heard the cry of widows from these saws. 

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The Americans 



Bishop Hardbrooke. 

I would suggest, my brother, that we leave 
The deeper things of God for quiet times 
And turn our minds to something nearer home. 

Harry Egerton. 

I know of nothing nearer home than this, 
The cry of men for justice at our doors. 

Bishop Hardbrooke. 

Suppose we get the Company to agree 
To let bygones be bygones with the men, 
And to restore conditions as they were 



Ralph Ardsley. 

In other words to meet the men's demands. 

Bishop Hardbrooke. 

And put the guards they ask about the saws. 
That would remove the causes, would it not, 
Of the misunderstanding? 

Ralph Ardsley. 
Every one. 

Bishop Hardbrooke. 

Would there be any valid reason then 

Why Peace should not return and all be friends 

As formerly? 

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The Americans 



Harry Egerton. 

For weeks they waited for it. 
{Listens back) 

Bishop Hardbrooke. 

What's time to do with right and wrong, my 
brother ? 

Harry Egerton. 

But men in misery often have a vision 
Beyond the eye of prosperous days to see. 

Bishop Hardbrooke. 

If it was fair last week, then why not now ? 

Harry Egerton. 

They're building something fairer. 
{Walks back) 

Ralph Ardsley. 
It's no use. 

Bishop Hardbrooke. 

On what foundations, Harry? All about 
I see the wreck and ruin of our land ; 

Her altars down, her sacred institutions 

{Cheering outside) 



Harry, I beg of you to stop and think 
What it has cost, this Law that you defy 

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And cast before the swine of riotous feet. 

{Continuous cheering) 
I appeal to you, my brother— 



Harry Egerton. 
Bishop Hardbrooke- 



Bishop Hardbrooke. 

In the name of everything that you hold dear- 



Harry Egerton. 

There's nothing you could say that could persuade 
me 

Bishop Hardbrooke. 

Think of your country plunged in civil war! 

Harry Egerton. 

To stay even with a word what's rising there. 

Bishop Hardbrooke. 

Think of your mother, think of how she feels 
Sitting 

Ralph Ardsley. 
Here's Anderson ! 

Harry Egerton. 
What is it, Harvey? 

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The Americans 



Harvey Anderson. 
{Hurrying in) 
Well, President of Free Mill Number One 
And many more hereafter! 

( Goes quickly left and, seizing the rope, pulls the 
flag up on the pole) 

Up the mast, 
My beauty! Now you'll hear 'em raise the roof. 

Harry Egerton. 
And Dicey ? 

Harvey Anderson. 

Moved to make it unanimous. 
No opposition. 

{Tremendous cheering outside) 

Harvey Anderson. 

{Comes right and takes Harry Egerton s two 
hands in his) 
Well, boy? 

Ralph Ardsley. 
It's no use, Bishop. 

Harvey Anderson. 
You've dreamed it and it's a fact now, partner. 

Harry Egerton. 
Yes. 

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The Americans 



Harvey Anderson. 

The years will multiply 'em. 

Harry Egerton. 
Hear! Just hear! 
{Prolonged cheering) 

Ralph Ardsley. 

Let's leave 'em and let 'em stew in their own juice. 

Harry Egerton. 
The Living Mill! 
(A volley of shots) 

Harvey Anderson. 

There goes the boys' salute! 

(Seizes Harry Egerton by the shoulders and lifts 
him off his feet) 
Up with you, up into the skies with you ! 
We've lived to see a day will live forever. 
And you come right on out and make your speech. 
(Hurries back through the mill) 

Harry Egerton. 

I'll be there shortly, Harvey. 

Bishop Hardbrooke. 

I suppose 
There's no use in our talking any more. 

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The Americans 



Harry Egerton. 
I'm sorry, Bishop. 

Bishop Hardbrooke. 
Then — Good-bye. 

Harry Egerton. 
Good-bye. 

{The Bishop and Ardsley go out down the stairs. 
Harry Egerton starts back toward the gate) 

Jim King. 

{Suddenly appears just beyond the railing) 
There was a call just now 'fore you came in. 
I think it was your mother. 

{Harry Egerton turns back to the desk and takes 
up the telephone. Jim King vanishes through 
the great door } left) 

Harry Egerton. 

Forty-nine 
Grand View, please. Yes. 
{A pause) 

Mother? I knew your voice. 
You called me up, one of the men said. No? 

{A pause) 
Or some one else. 
{A pause) 

Yes, mother, very well. 

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The Americans 



You're going to the city? 

{A pause) 

That was it. 
I thought perhaps you had called me up to ask. 

(A pause) 
Four or five hundred pounds. 

{A pause) 

Mixed, I should say. 
And such toys as you think children would like. 

{A pause) 

you know more about such things than I. 
{A pause) 

Yes. 

{A pause) 

Mother, while I think of it, has father 
Had any trouble with Jergens ? 
{A pause) 

Ah, I'm glad. 

1 overheard him talking with some men 

The other night, and thought from what he said 
It might be father they were talking of. 

{A pause. The door, forward left, opens slowly 
and Rome Masters comes stealthily in with a 
bar of iron in his hand, and moves toward 
Harry Egerton, whose back is to him) 

Harry Egerton. 

I'm very glad. You might ask father though. 
{Cheering outside) 

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The Americans 



I'll have some news for you when you return. 

{A pause) 
Here in the mill. And I'll be Santa Claus. 

{A pause) 
That will be beautiful. 

{A pause) 

And, mother 

{Masters strikes him) 

Harry Egerton. 
Ah! 

{He sinks to the floor. Masters, iron in hand, 
flees down the stairs. The cheering outside 
continues. Then, as the noise subsides, there is 
heard a steady buzzing of the telephone as 
though some one were trying to get connec- 
tion) 



276 



The Americans 



ACT V 



CHRISTMAS EVE 



Scene: Inside the large room of a newly built board 
cabin up at the mine. Centre, rear, the open mouth 
of the tunnel, with the wall resting upon the rocks 
above. Left, in this same wall, near the corner, a door 
opening outside. Right, near the other corner, about 
four feet up from the floor, a small oblong window 
through which one sees the snow lying thick upon the 
mountains, and beyond the snow the dark of the sky 
with the winter stars shining brightly. In the right 
wall, well back, a door opens into a bedroom. Centre, 
in the opposite wall, a second door opens into a sort 
of woodshed, heft, a little way to the rear from the 
centre of the room, a heavy iron stove with chairs 
standing about. A woodbox is over near the wall, left. 
Forward right, a table with a bugle lying upon two or 
three sheets of loose paper, and, farther over, a heap of 
ore samples in which, with the light of the near-by 
lamp falling upon them, the gold is plainly visible. 

Harvey Anderson, his hat pulled low over his eyes, 
sits with his back to the bedroom, staring at the stove. 
The only motion discernible is an occasional pressing 
of the lip when he bites his moustache. Later, Mrs. 
Egerton, careworn and evidently in deep distress, en- 

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The Americans 



ters from the bedroom and starts to say something to 
Harvey Anderson, but decides not to. Instead she 
goes to the window and stands looking out as though 
she were anxiously waiting for some one. 
Time: Christmas Eve. 

Mrs. Egerton. 

{In a low voice) 
It's after midnight, for the lights are out 
Down in the town. It must be after one. 

{Speaks back as though into the bedroom) 
You think the guard would let him come right 
through ? 

Harvey Anderson. 
Yes, mother. 

Mrs. Egerton. 

I didn't mean to wake you, Harvey. 

Harvey Anderson. 
I ain't been sleeping. 

Mrs. Egerton. 

But it seems so long. 

{Turns again to the window) 

Harvey Anderson. 

The snow's so deep upon the mountains, mother. 

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The Americans 



And Sam and Chris — I know they'd hurry on- 
They ain't come either. 

Nurse. 

(Entering from the bedroom) 
It's stopped snowing now. 

Harvey Anderson. 

It's getting colder. How's he seem to be? 

Nurse. 

There's very little change. What time is it? 

Harvey Anderson. 

(Looks at his watch) 
Going on half past three. 
(They look at one another) 

Nurse. 

Don't think such things. 

(Anderson goes to the woodhox and looks in) 

Mrs. Egerton. 

(At the window, to herself) 
If I only knew! If I only knew he'd come! 

Nurse. 

(As Anderson goes into the woodshed) 
He may have telegraphed for specialists. 

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The Americans 



(She glances toward Mrs. Egerton, then goes 
quietly to the door, rear left, and looks out) 

Nurse. 

(Comes back) 
I wish that there was something that I could do. 

Mrs. Egerton. 

You made it plain that he must come at once? 

Nurse. 

Yes, Mrs. Egerton. I told the truth. 
Some think it's better to deceive. I don't. 
And I find that people thank you in the end. 

Mrs. Egerton. 

And they've been gone since nine. 

Nurse. 

Lie down a while, 
Won't you? I wish you would. 

Mrs. Egerton. 

Isn't that some one? 

Nurse. 

(Goes to the window) 
It's Mr. Bentley with the guard, I think. 

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The Americans 



{Mrs. Egerton leaves the window and walks 
about the room) 

Mrs. Egerton. 

(Half to herself) 
The stars are so low down, so beautiful ; 
And the world so full of joy. Isn't it strange? 
To-day we're here and to-morrow somewheres else. 
(She stops by the bedroom door and stands look- 
ing in) 

Nurse. 

He's so your boy. 

Mrs. Egerton. 
Yes, yes. 

Nurse. 

And he loves you so. 
It's always 'mother' when he speaks at all; 
You and the mill. 
(A pause) 

And then you'll always know 
There's never been a man in Foreston 
Been loved as he has been. 

Mrs. Egerton. 

But he's so young! 
And his work — He'd just begun. So little chance! 

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The Americans 



Nurse. 

I've nursed so many cases of old men, 
And men in prosperous circumstances, too, 
Who've had no friends at all, just relatives. 
{Mrs. Egerton walks about) 

Nurse. 

And friends are so much closer, don't you think? 

Mrs. Egerton. 

Has he never, never mentioned Donald's name 
In his delirium? 

Nurse. 

{Shakes her head) 

But then you know 
Those first weeks at the Hospital were a blank, 
Or almost so. And then when he came to 
After the operation 

Mrs. Egerton. 
Donald! Donald! 

Nurse. 

I being a stranger, just a nurse, you know. 
In delirium of course it's different. 
But then I'd left the case. 

{Harvey Anderson enters with an armful of 
wood) 

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The Americans 



Nurse. 

I was surprised 
When I got word from Mr. Anderson 
That you had let him — It's so far up here. 

Mrs. Egerton. 

He wanted to so much. 

Nurse. 

They always do. 
But they don't always know what's best for them. 

Harvey Anderson. 

But he was getting on so well. 

Nurse. 
I know. 

Harvey Anderson. 

There was no fever till four days ago. 

Nurse. 

(To Mrs. Egerton) 
When I got here he was quite rational. 

Harvey Anderson. 

And talked about the mine here and the mill. 
And figured out the timber that we'd need 
For next year's run. I don't know what it was. 
(Quietly replenishes the fire) 
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The Americans 



Mrs. Egerton. 

{At the bedroom door) 
He hasn't moved. 

Nurse. 

It quite exhausted him. 

Mrs. Egerton. 

You think he recognized me? 

Nurse. 

I don't know. 

Harvey Anderson. 

{Who has come to the table, picks up one of the 
sheets of paper) 
And he was planning homes here for the men 
Upon the valley land, with flowers and trees. 

Nurse. 

Wasn't it strange that he should hear the bells? 

Harvey Anderson. 

I hadn't heard them till he spoke. 

Nurse. 
Nor I. 

Harvey Anderson. 

He seemed to know that it is Christmas Eve. 

284 



The Americans 



Mrs. Egerton. 

His speaking of the toys! 

Nurse. 

Lie down a while. 

Harvey Anderson. 

It's all right, mother, it's all right. 

Nurse. 

Won't you? 
We'll call you when he comes. 

Buck Bentley. 

{Entering hurriedly from outside) 
Here comes a light. 

Mrs. Egerton. 

{Collecting herself) 
If there's anything, Harvey, anything I can do 
To help the work along, you'll come to me. 
Promise me that. And you must keep right on. 

Harvey Anderson. 

Yes, mother. We talked of that. 

{Mrs. Egerton kisses him and goes into the bed- 
room) 

Buck Bentley. 
How is he now ? 

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The Americans 



Nurse. 

About the same. 

(She goes to the window) 

Buck Bentley. 

You didn't think he'd come. 

Harvey Anderson. 

He's been six weeks, almost. But that's all right. 
Is the Doctor with him? 

Buck Bentley. 

Yes. 

(Starts for the door) 

I'll tell the boys. 

Harvey Anderson. 
Then come back, Buck. 

Buck Bentley. 
I will. 

(He goes out. Anderson stands staring at the 
door) 

Nurse. 

I'm so, so glad. 

These weeks and weeks It's been so hard to 

bear. 
You see when Death comes, Mr. Anderson — 

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The Americans 



It ought to be a lesson to us all. 
You'll stay, of course. 

Harvey Anderson. 
I? Sure. 

Nurse. 

He's felt so hard, 
So bitter toward you. 

{Buck Bentley enters quickly. Looks from Har- 
vey to the Nurse) 

Harvey Anderson. 
What?- — 

Buck Bentley. 
It's Sam and Chns. 

(Sam Williams and Chris Knudson come in with 
a lantern) 

Harvey Anderson. 

See anything of Egerton coming up? 
(The men show surprise) 

Buck Bentley. 
They sent for him. 

Sam Williams. 

Is he as bad as that? 

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The Americans 



Harvey Anderson. 
He hasn't been himself. 

(To Bentleyij ivho starts out) 
Then come back. 

Buck Bentley. 
Yes. 

(Anderson turns and shakes his head at the 
Nurse, who goes into the bedroom, closing the 
door after her) 

Harvey Anderson. 

He spoke of both of you. 

Chris Knudson. 
Too bad! too bad! 

Harvey Anderson. 

I thought you'd like to be here. 
(They sit silent about the stove) 

Harvey Anderson. 
Colder. 

Chris Knudson. 
Yes. 

( They are silent) 

Harvey Anderson. 

Things going all right, Sam? 
(Sam Williams nods) 

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The Americans 



Harvey Anderson. 
And in the camps? 

Chris Knudson. 

Hundred and fifty men. 
{They are silent) 

Sam Williams. 

There's a report 
That Masters will turn State's evidence. 

Harvey Anderson. 
Good news. 

Chris Knudson. 

The citizens are pressing on the case. 

Harvey Anderson. 

They'll find the trail leads where we said. 

Chris Knudson. 
That's sure. 

Sam Williams. 

His throwing down the silver don't help though. 
{They are silent) 

Harvey Anderson. 

You see about those young pines, Chris. With 
spring 

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The Americans 



We'll begin setting out as partner wished, 
And start all over with the land all green. 
{They are silent) 

Chris Knudson. 

The boys will be so sorry. 

Harvey Anderson. 

I don't mind, 

Now that it can't be, telling you of a plan 

{There is a slight noise in the bedroom. Ander- 
son turns and listens; but everything becomes 
quiet again) 

Harvey Anderson. 

Of a surprise he had for Christmas day, 
For all of us and the families of the men. 

Nurse. 

{Appears at the door and calls quickly) 
Harvey ! 

{Anderson starts for the bedroom. Suddenly 
Harry Egerton appears struggling with his 
mother and the Nurse. His head is bandaged 
and his face is covered with a six weeks' beard) 

Harry Egerton. 

No, no! See there! see there! see 
there ! 
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The Americans 



They're here already! 

(A shadowy line of workmen with their wives 
and children in their Sunday clothes comes in 
left) 

Harry Egerton. 

{Shouting right) 

In the dry-kiln, Sam! 
And fetch the other barrel, Harvey. 

Mrs. Egerton. 
Harry ! 

Harry Egerton. 

A Merry Christmas, friends, to all of you! 
I'm glad you've come! 
(Shaking himself free) 

It's all right, it's all right! 
Candy, candy, candy, children! 
(The children crowd about him) 

Mrs. Egerton. 
Harry ! 

Harry Egerton. 

Let them come! let them come! There! there! 
there ! 

Harvey Anderson. 
Partner ! 

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Harry Egerton. 
(Laughing) 
Isn't it wonderful! 

Mrs. Egerton. 
It's mother, Harry! 

Harry Egerton. 

And here's a little doll and here's a sled! 

I brought them down over the chimney tops! 

(Laughs. A little boy remains after the other 
children have gone back to their parents) 

Harry Egerton. 
A little horn ? 

Harvey Anderson. 
Partner! 

Harry Egerton. 
What golden hair! 

(The little boy returns to the others) 

Harry Egerton. 

(Advancing and shaking hands with the men and 
women, who file by him and pass out rear) 
Next year, my friends, if everything goes well, 
We'll have some homes to hang up on the tree 
With big yards where the little ones can play. 

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But this is children's day. 

{Last in the line comes a figure in the garb of a 
workman, hut with the tender, bearded face of 
the Christ) 

Harry Egerton. 

{Looking at his brow) 
Have you been hurt? 

{The figure holds out both hands to him) 

Harry Egerton. 

{At first wildly, but with growing calmness) 
Harvey! Buck! Mother! 

{The figure looks back one moment, then van- 
ishes. Harry Egerton is seen falling into the 
arms of Harvey Anderson, who carries him 
into the bedroom. His mother and the Nurse 
follow. Sam Williams and Chris Knudson 
stand staring across at the door) 

Sam Williams. 

Our leader's gone, Chris. 

Chris Knudson. 
Yes, I fear so. 

Harvey Anderson. 

{Coming in and closing the bedroom door after 
him ) 
Partner's gone. 

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The Americans 



A Guard. 

{Pushing open the outside door) 
Egerton's come. 

(Donald Egerton enters, followed by the Doctor 
and two strange men, apparently surgeons, one 
of them carrying an instrument case. Egerton 
glances about and instinctively locates the bed- 
room, and at once goes toward it) 

Harvey Anderson. 
(To the Doctor) 
Too late. 

Doctor. 
Dead! 

Harvey Anderson. 
Just this moment. 

Voice of Mrs. Egerton. 

(As Egerton opens the bedroom door) 
Donald ! Donald ! 

(The Doctor follows Egerton into the bedroom) 

Chris Knudson. 

(Looking toward the door that the Doctor has 
shut) 
Peace and good will on earth. 

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Harvey Anderson. 
He stood for that. 

{They stand silent about the stove. Anderson 
picks up two chairs, which he takes over to the 
two strangers, who are standing by the table) 

Chris Knudson. 

There's things about us here that we don't see. 

Sam Williams. 

{Looking toward the bedroom) 
I'm sorry — for his sake. 

Chris Knudson. 
What will we do ? 

Sam Williams. 

You'll not desert us, comrade, now he's gone. 

Harvey Anderson. 

'For all time ; shall we say it?' 

Chris Knudson. 
That last day. 



Harvey Anderson. 

'And give our lives, if need be?' 

Sam Williams. 
He gave his. 

{Takes up the lantern) 
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The Americans 



Harvey Anderson. 

He hasn't left the Cause, Sam. 

Sam Williams. 
True. 

Chris Knudson. 

That's true; 
He hasn't left the Cause. 

Harvey Anderson. 

Here just last week, 
Sitting about the table, planning things, 
'The Cause will be here, Harvey, when we're gone, 
A beautiful river flowing through the land.' 

Chris Knudson. 

There was the noblest boy this land's brought forth. 

Harvey Anderson. 

And we must make it wider, Sam. 

Sam Williams. 
Yes, yes. 

Harvey Anderson. 
Till the whole land is free. That's our work now. 

Sam Williams. 

Yes, we must keep right on. 

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The Americans 



Harvey Anderson. 

That was his wish, 
That we should keep right on ; and his mother's, too. 
Tell the boys that. 

Sam Williams. 
We will. 

Chris Knudsqn. 

There ought to be 
A public funeral so the men could march. 

Harvey Anderson. 

I'll speak to Mr. Egerton. 

First Stranger. 

{Indicating Anderson) 
That's him. 

(The two workmen go out) 

Harvey Anderson. 

Stop by the cabins and tell Buck. Good-night. 
(He shuts the door and ivalks about, stopping oc- 
casionally by the stove, absorbed in thought) 

Second Stranger. 

He'll hardly use us now. 

First Stranger. 
Probably not. 

(They take up pieces of the ore) 
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The Americans 



First Stranger. 

(To Anderson, who is walking about) 
How much does this assay? 

Second Stranger. 
He didn't hear you. 

Egerton. 

(Enters with the Doctor and speaks with him 
aside) 
Drive down a mile or so and wait for me. 

(Mrs. Egerton and the Nurse come in. Both are 
dressed for travelling) 

Mrs. Egerton. 

(Walks toward the outer door, then suddenly 
turns) 
O Donald, Donald, this is Christmas Eve! 
Think of this night in years gone by! 

Egerton. 

(Tenderly) 
Mary! 

Nurse. 

'Thy will be done.' 

Harvey Anderson. 
It's all right, mother. 

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Mrs. Egerton. 
Harvey! 

(She embraces him and goes out with the Nurse) 

Egerton. 

(To the Doctor) 
And you'll attend to everything? 

Doctor. 

Yes, Colonel. 

(The Doctor goes out. Egerton shuts the door 
and stands for a moment apparently waiting 
till those who have just left get farther from 
the cabin. He then starts pacing to and fro as 
though he were undecided what to do. As he 
walks left toward Harvey Anderson his brow 
darkens. But as he turns right and draws near 
the bedroom the hard lines of his face relax. 
It is clear that a terrible struggle is going on 
within him) 

Egerton. 

(To Harvey Anderson) 
You here alone? 

Harvey Anderson. 

Yes, Mr. Egerton. 
But that don't matter if there's anything 



(Egerton stands for a moment, then resumes his 
walk) 

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The Americans 



Harvey Anderson. 

Is there something I can do? 

Egerton. 

{Stopping midway between the bedroom and An- 
derson, to the strangers) 
What do you say? 

First Stranger. 

We'll do the best we can. 

{The Second Stranger removes his overcoat. The 
First lifts the instrument case upon the table 
and begins to open it. Egerton walks toward 
the bedroom) 

Harvey Anderson. 
{Following him) 

I don't believe — 
I don't believe, though, Mr. Egerton, 
It's any use. 

First Stranger. 

{Suddenly covering Anderson with pistols which 
he has taken from the case) 

Keep those hands where they are. 
Bolt that door, Ned. 

{The Second Detective bolts the outside door. 
He then comes to the table and takes from the 
case two pairs of handcuffs, a long black mack- 
intosh, and a black cap) 
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The Americans 



First Detective. 
Search him. 

Second Detective. 

(Feels about Anderson s hips and sides) 
Slip on this coat. 

Harvey Anderson. 

( To Egerton, while the detective puts the coat on 
him) 
Well, partner, I've seen men where Hell was loud 
Shoot from behind dead bodies but, by God, 
I've never seen them shoot from such as him. 
(Nodding toivard the bedroom) 

First Detective. 
Quick now. 

Egerton. 

You know the way? 

Harvey Anderson. 
You beat them all. 

First Detective. 

We keep the road to the left. 

Egerton. 

Over the mountains. 
You'll probably have some trouble. 

301 



The Americans 



First Detective. 
We'll get there. 

Egerton. 

I'll have the Express wait for you at Lucasville. 

You ought to reach there 

{Looks at his watch) 

It's now five o'clock 

By ten or eleven. 



First Detective. 
At the outside. 

( The Second Detective hands to Egerton his sons 
will, which, in buttoning the coat up about An- 
derson, he has found in the latter s pocket) 

Egerton. 

(Looks into it a moment) 
Urn! 

Second Detective. 

The guard will be off duty? 

First Detective. 

I think so, 
But we've no time to lose. 

(The Second Detective handcuffs himself to An- 
derson on the left side. The First Detective 
puts the cap on Anderson so that with the high 
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collar of the coat turned up, only his eyes are 
visible under the poke) 

Harvey Anderson. 
The black cap, eh? 

{The First Detective then handcuffs himself to 
Anderson on the right side) 

Egerton. 

You wire me when you reach the Capitol. 

First Detective. 
Yes, Mr. Egerton. 

Egerton. 

Go briskly now. 

First Detective. 

{Showing Anderson his pistol) 
Now not a word from you, you understand. 

{He puts the pistol in his side overcoat pocket 
and keeps his hand on it) 

Egerton. 

'Twill soon be morning. 

Harvey Anderson. 

Yes, you'd better leave 
Before the land wakes up. 

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The Americans 



{The detectives, with Anderson between them, 
go out) 

Egerton. 

We'll see, my man — 

{Puts the key on the outside of the door) 
How you'll shake down the pillars of this land. 

{He goes out and locks the door after him. A 
few moments pass. Suddenly at some distance 
outside a shot is heard. Again a few moments 
pass. Then, with a crash, the door is broken 
in and Buck Bentley, with the will in his hand, 
pulls himself hurriedly through the hole. He 
staggers to the table and seizes the bugle and 
blows a loud blast, then reels and, trying to 
steady himself, falls dead upon the floor, taking 
the table down with him. There is a clatter- 
ing of the ore samples and a breaking of glass, 
and the lamp goes out, leaving the room in 
darkness. A half mile or so away, in the direc- 
tion of Foreston, a bugle is heard, then, farther 
away, another, and fainter, another, and still 
another. And out through the window in the 
starlight of the Christmas morning soldiers 
with rifles in their hands are seen running rear 
left through the snow) 



304 



MAY 17 1! 



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,4E. R 5 RY 0F CONGRESS 



018 407 797 8 




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